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Aesthetic Anxiety

Uncanny Symptoms in German Literature and Culture


Laurie Ruth Johnson

Aesthetic Anxiety analyzes uncanny repetition in psychology, literature, philosophy, and film, and produces a new narrative about the centrality of aesthetics in modern subjectivity. The often horrible, but sometimes also enjoyable, experience of anxiety can be an aesthetic mode as well as a psychological state. Johnson’s elucidation of that state in texts by authors from Kant to Rilke demonstrates how estrangement can produce attachment, and repositions Romanticism as an engine of modernity.

Edited by Thomas Mical

This new book series investigates innovative ways to think about and design our built environment. The premise of Architectural Intelligences is that theories of design can generate innovative design methods and novel design projects. Architectural Intelligences seeks synthesis, hybridity, or tensions between architectural theory with other knowledge disciplines, to produce new insights, new speculations, and new design protocols. Architectural thought and production becomes thereby active and uniquely transformative. Books in this series will unfold new forms of order, organization, innovation, and experimentation that can shape and redirect current architectural thought, in dialogue with other disciplines, as game-changers.

Prospective authors in the disciplines of architecture, interiors, and urban spaces are encouraged to submit truly trans-disciplinary proposals (for single authored, co-authored, or edited volumes). Brill welcomes scholarly works that examine the area of applied architectural theory, drawing expertise in another knowledge discipline, such as:
• Architecture + Game Theory
• Architecture + Hypermodernity
• Architecture + New Ecologies
• Architecture + New Materiality
• Architecture + New Forms of Pleasure
• Architecture + Media-Philosophy
• Architecture + New Subjectivities
• Architecture + New Networks
• Architecture + Posthumanism

Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.

Mette Steenberg, Pernille Bräuner and Sebastian Wallot

as a powerful socially coalescing presence, allowing readers a sense of subjective and shared experience at the same time”. Linguistic analysis of online responses demonstrated a development of “verbatim and near verbatim repetition” including “syntactic mirroring” and “reflective mirroring” over a


Edited by Miles Orvell and Jeffrey L. Meikle

We typically take public space for granted, as if it has continuously been there, yet public space has always been the expression of the will of some agency (person or institution) who names the space, gives it purpose, and monitors its existence. And often its use has been contested. These new essays, written for this volume, approach public space through several key questions: Who has the right to define public space? How do such places generate and sustain symbolic meaning? Is public space unchanging, or is it subject to our subjective perception? Do we, given the public nature of public space, have the right to subvert it? These eighteen essays, including several case studies, offer convincing evidence of a spatial turn in American studies. They argue for a re-visioning of American culture as a history of place-making and the instantiation of meaning in structures, boundaries, and spatial configurations. Chronologically the subjects range from Pierre L’Enfant’s initial majestic conceptualization of Washington, D.C. to the post-modern realization that public space in the U.S. is increasingly a matter of waste. Topics range from parks to cities to small towns, from open-air museums to airports, encompassing the commercial marketing of place as well as the subversion and re-possession of public space by the disenfranchised. Ultimately, public space is variously imagined as the site of social and political contestation and of aesthetic change.

Gerald Cipriani

other totalising teleological ideals. Gone should be the days that reduce history to logical orders based on causation that could be worked out, for example, by imagining counterfactuals. Should history, then, amount to subjectivity alone or, for that matter, inter-subjectivity? Such a radicalism could

Robert Clarke

the ineffable. Finally, we arrive at the penultimate chapter: Self-Acquaintance , which introduces three subjective modes of subjective ineffable knowledge – key to the author’s conclusion – where she tells us that “self-acquaintance acquaints a subject with her own subjectivity, that is, her Self

Gerald Cipriani

also be about incarnating the meaning of the world, a musical piece, or a play. Depending on schools of philosophy, cultures and historical periods, emphases have fluctuated between the objective, subjective, and experiential natures of interpretation. Each of these different emphases has been

The Subject of Aesthetics

A psychology of art and experience


Tone Roald

How does art influence us? In The Subject of Aesthetics, Tone Roald approaches aesthetics as a psychological discipline, showing how works of art challenge our habitual ways of perceiving the world. While aesthetics has traditionally been a philosophical discipline, Roald discusses how it is very much alive in the realm of psychology – a qualitative psychology of lived experience. But what actually constitutes an aesthetics of lived experience? The book answers that question by analyzing people’s own engagement with visual art. What emerges is that the object of aesthetics is indeed the subject.

Jazz, Kant and Zen

The Philosophy of Improvisation

Jonathan Day

his liking. 5 Why then is this so? It is perfectly reasonable to claim a taste for something or to see it as agreeable, but to claim that something that we do not recognise or understand is universally beautiful is rather outrageous. Kant argues first for a mechanism: As the subjective