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Asthetische Grundbegriffe. Historisches Worterbuch in Sieben Banden

Asthetische Grundbegriffe. Historisches Worterbuch in Sieben Banden Unless otherwise indicated, all translations are my own. COMPARATIVE LITERATURE /178 As explained in the preface, the attention conceded to the current state of aesthetics is supposed to respond to the twofold change with which aesthetic conceptualization now has to cope. First, it faces altered “forms of feeling and thinking” and a “transformation of the ways of perceiving, of self-consciousness, that generate a veritable “pan-aesthetic ” dissolution of the aesthetic field” (1:ix). During the past decennia, these processes have been pushing aesthetics—as the entry aesthetics/aesthetic/aesthetical argues—toward the broader concept of “aisthesis” (1:392), which is meant to include the whole spectrum of sensual experience and to reactivate aesthetic perception in borderlands beyond academic restrictions as to what may count as a work of art. Second, these developments are accompanied by new forms of digital communication, the multi- and “intermediality” of which bear witness to an accelerating “transfer of aesthetic experience between domains of art and national cultures or between art-sphere and everyday world” (ix). The fake redounds upon the aesthetic as conventional “conceptions of originality and authenticity confront media of reproduction and simulation which challenge our conceptual consciousness of history” (ix). And, the editors agree, since everything becomes adaptable http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Asthetische Grundbegriffe. Historisches Worterbuch in Sieben Banden

Comparative Literature , Volume 55 (2) – Jan 1, 2003

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Publisher
Duke University Press
Copyright
Copyright 2003 by University of Oregon
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/-55-2-177
Publisher site
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Abstract

Unless otherwise indicated, all translations are my own. COMPARATIVE LITERATURE /178 As explained in the preface, the attention conceded to the current state of aesthetics is supposed to respond to the twofold change with which aesthetic conceptualization now has to cope. First, it faces altered “forms of feeling and thinking” and a “transformation of the ways of perceiving, of self-consciousness, that generate a veritable “pan-aesthetic ” dissolution of the aesthetic field” (1:ix). During the past decennia, these processes have been pushing aesthetics—as the entry aesthetics/aesthetic/aesthetical argues—toward the broader concept of “aisthesis” (1:392), which is meant to include the whole spectrum of sensual experience and to reactivate aesthetic perception in borderlands beyond academic restrictions as to what may count as a work of art. Second, these developments are accompanied by new forms of digital communication, the multi- and “intermediality” of which bear witness to an accelerating “transfer of aesthetic experience between domains of art and national cultures or between art-sphere and everyday world” (ix). The fake redounds upon the aesthetic as conventional “conceptions of originality and authenticity confront media of reproduction and simulation which challenge our conceptual consciousness of history” (ix). And, the editors agree, since everything becomes adaptable

Journal

Comparative LiteratureDuke University Press

Published: Jan 1, 2003

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