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Feminist aesthetics, negativity and semblance
Ewa Plonowska Ziarek

3 Ewa Plonowska Ziarek Mimesis in black and white: feminist aesthetics, negativity and semblance As Sarah Worth suggests, despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics ‘is a relatively young discipline, dating from the early 1990s’, and thus still open to contestation and new formulations.1 In this context it might seem paradoxical that one of the founding texts of feminist aesthetics, Rita Felski’s Beyond Feminist Aesthetics: Feminist Literature and Social Change, proclaims its impossibility

in The new aestheticism
Beholding young people’s experiences and expressions of care through oral history performance
Kathleen Gallagher
Rachel Turner-King

as ethnographic researchers in Turner-King’s context of CYT. They felt that the care they witnessed seemed neither limited nor terribly inward-looking, despite having every reason to be inner-directed in the days immediately following the extraordinarily difficult Brexit referendum vote result and the remarkable sense of uncertainty that followed it. Sociologists Kathleen Lynch, Maureen Lyons and Sara Cantillon, drawing upon extensive feminist literature on care, put forward a view of the ‘care-full’ citizen that recognises the care and love labour, and

in Performing care