The interest in aesthetics in philosophy, literary and cultural studies is growing rapidly. This book contains exemplary essays by key practitioners in these fields which demonstrate the importance of this area of enquiry. New aestheticism remains a troubled term and in current parlance it already comes loaded with the baggage of the 'philistine controversy' which first emerged in an exchange that originally that took place in the New Left Review during the mid-1990s. A serious aesthetic education is necessary for resisting the advance of 'philistinism'. Contemporary aesthetic production may be decentred and belonging to the past, but that is not a reason to underestimate what great works do that nothing else can. 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'. The book focuses on the critical interrogation of the historical status of mimesis in the context of a gendered and racial politics of modernity. Throughout the history of literary and art criticism the focus has fallen on the creation or reception of works and texts. The book also identifies a fragmentary Romantic residue in contemporary aesthetics. The Alexandrian aesthetic underlies the experience of the 'allegorical'. 'Cultural poetics' makes clear the expansion of 'poetics' into a domain that is no longer strictly associated with 'poetry'. The book also presents an account of a Kantian aesthetic criticism, discussing Critique of Pure Reason, Critique of Aesthetic Judgement and Critique of Judgement.
product tell us? How does it generate and/or produce a discourse that may or may not have a political nature? In their Introduction above, Schimanski and Nyman ask us whether ‘images negotiate borders, borderlands, and border-crossings in a different way from narratives’. Our objective here is to investigate the political discourse that a visual product is likely to generate in so far as its creator links it to a space as specific as a border.
Border art informs recent analyses of the geopolitical dimension of contemporaryaestheticproduction. The
transcend the texts of writers who were convinced that what they were
writing was art. A combination of critical self-doubt with the intuitive sense that there
can always be another, perhaps better, way of articulating what concerns us seems to
me characteristic of the best we can learn from the traditions of aesthetic theory and
from the art to which they were the accompaniment. The contemporary tendency to
argue as though we were already in a situation where we know what comes after art
precludes such a combination. Contemporaryaestheticproduction may be more