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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.

Open Access (free)
From content warning to censorship
Jack Halberstam

’s professors were undergraduates and graduate students, classrooms were very different places. Wooden desks screwed to the floor were the norm rather than light and mobile desks on wheels. Professors lectured in poorly lit and poorly ventilated great halls, and students wrote notes by hand and could only fact check later by taking laborious trips to the library. People smoked in classrooms, for God’s sake! Visual imagery in the art history classroom depended upon carousels of slides, and film courses depended upon after-​hours screenings of mostly canonical films. And now

in The power of vulnerability
Open Access (free)
Bill Prosser

age.39 In brief, a largely short-term and ‘political’ tactic has grown into an endemic attitude whereby there is always some kind of discrepancy between the visible work and its meaning. Further, as Maclagan makes clear,40 this gap has been widened by Freudian theory, which postulates an apparently novel but in fact relatively restricted symbolism that has a degree of overlap with the figurative and emblematic interpretative traditions within art history. Both writers agree that the ‘form’ of images has been ignored in examinations of ‘content’, and offer similar

in Beckett and nothing
Open Access (free)
Holly Dugan

similarly in the past, resonating across cultural, chemical and art histories to create an aesthetic effect. Vision and olfaction have been linked in the past and remain linked in the present, a point brought home when one adds to this discussion the numerous pre-modern art objects associated with the history of perfume, many of which are on ‘display’ in museums because of their ornate materiality. Objects like gold censers, elaborately embroidered leather gloves, ceramic potpourri vases, ivory snuff boxes, silver vinaigrettes and the more familiar crystal and glass

in The senses in early modern England, 1558–1660
Open Access (free)
Working memory
David Calder

Claire Cochrane and Jo Robinson (eds), Theatre History and Historiography: Ethics, Evidence and Truth (Basingstoke: Palgrave Macmillan, 2016), 147–62; Heike Roms, ‘Mind the Gaps: Evidencing Performance and Performing Evidence in Performance Art History,’ in Claire Cochrane and Jo Robinson (eds), Theatre History and Historiography: Ethics, Evidence and Truth (Basingstoke: Palgrave Macmillan, 2016), 163–81; and Rebecca Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment (New York: Routledge, 2011).  7 See Jean Fourastié, Les trente glorieuses

in Street theatre and the production of postindustrial space
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
The ends of incompletion
Chloe Porter

Romanticism , Bettie Allison Rand Lectures in Art History (Chapel Hill and London: University of North Carolina Press, 2005 ), pp. 1–35, p. 19. 81 See Hamling, Decorating the ‘Godly’ Household , p. in 192. 82 For the dating of this panel see Hamling

in Making and unmaking in early modern English drama