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The "new" censorship of the arts, some cultural critics say, is just one more item on the "new" Right's agenda, of a piece with attempts to regulate sexuality, curtail female reproductive rights, restrict gays and lesbians, and privatize public institutions. While not contesting this assessment, the writers gathered here expose crucial difficulties in using censorship, old and new, as a tool for cultural criticism. Focusing on historical moments ranging from early-modern Europe to postmodern American, and covering a variety of media from books and paintings to film and photography, their essays seek a deeper understanding of what "censorship", "criticism" and the "public sphere" really mean. Getting rid of the censor, the contributors suggest, does not get rid of the problem of censorship. In varied but complementary ways, their essays view censorship as something more than a negative, unified institutional practice used to repress certain discourses. Instead, the authors contend that censorship actually legitimates discourses - not only by allowing them to circulate, but by joining them in a sort of performance, a staging of oppositions. These essays move discussions of censorship out of the present discourse of diversity into what might be called a discourse of legitimation. In doing so, they open up the possibility of realignments between those who are disenchanted with both stereotypical right-wing criticisms of political critics and aesthetics, and stereotypical left-wing defences. Richard Burt is the author of "Licensed By Authority: Ben Jonson and the Discourses of Censorship".
The question of aesthetics as a theoretical framework for thinking about modern leadership issues in educational settings is an emergent area of inquiry that is receiving considerable attention. There is a growing sense that the mechanistic approach to leadership, which has been widely encouraged over the last ten years, is sterile and that a more philosophical approach is now required. This approach is covered here, taking into account the importance of aesthetics on all aspects of the administrative and leadership world: the ways ideas and ideals are created, how their expression is conveyed, the impact they have on interpersonal relationships and the organisational environment that carries and reinforces them and the moral boundaries or limits that can be established or exceeded. While presenting a significant departure from conventional studies in the field, the international contributors reflect a continuity of thought on administrative and leadership authority, from the writings of Plato through to current theory.
On January 20, 2017, Donald J. Trump was sworn in as the 45th president of the United States. Over the next sixteen months, events would unravel that test every American’s strength of character: executive actions, an immigration round-up of unprecedented scale, and a declaration of martial law. Rick finds himself caught up as the frontman of the new administration’s edicts and loses his humanity. In a play that recalls George Orwell’s Nineteen Eighty-Four and the Nazi regime, BUILDING THE WALL is a terrifying and gripping exploration of what happens if we let fear win.
In the wake of radical social movements in the 1960s and 1970s, literary studies’ embrace of politics entailed a widespread rejection of aesthetic considerations. For scholars invested in literature’s role in supporting or challenging dominant ideologies, appreciating literature’s formal beauty seemed frivolous and irresponsible, even complicit with the iniquities of the social order. This suspicion of aesthetics became the default posture within literary scholarship, a means of establishing the rigor of one’s thought and the purity of one’s political commitments. Yet as Timothy Aubry explains, aesthetic pleasure never fully disappeared from the academy. It simply went underground. From New Criticism to the digital humanities, Aubry recasts aesthetics as the complicated, morally ambiguous, embattled yet resilient protagonist in late twentieth-century and early twenty-first–century literary studies. He argues that academic critics never stopped asserting preferences for certain texts, rhetorical strategies, or intellectual responses. Rather than serving as the enemy of formalism and aesthetics, political criticism enabled scholars to promote heightened experiences of perceptual acuity and complexity while adjudicating which formal strategies are best designed to bolster these experiences. Political criticism, in other words, did not eradicate but served covertly to nurture reading practices aimed at achieving aesthetic satisfaction. Guilty Aesthetic Pleasures shows that literary studies’ break with midcentury formalism was not as clean as it once appeared. Today, when so many scholars are advocating renewed attention to textual surfaces and aesthetic experiences, Aubry’s work illuminates the surprisingly vast common ground between the formalists and the schools of criticism that succeeded them.
This edited collection presents the complex theory of kitsch from aesthetic and artistic points of view, transposed into managerial and organisational fields. In the spirit of management aesthetics, on the ground of humanistic management, the central aim of the volume is to show that kitsch is a common phenomenon not only in art and culture but also in management, and its conscious perception and mindful use may be beneficial for achieving organisational and managerial goals efficiently. Due to the diverse research problems covered by particular chapters, no unified methodology is applied in the book; every author applied an optimal method for the selected topic. However, due to the complex and metaphysical character of the kitsch phenomenon, the only common fundament of all chapters is using the kitsch experience theory (Szostak and Sułkowski, 2020). The dominant analytical approach is qualitative, with extensive use of case studies, comparative analyses, and ethnographic focus. Despite this, some chapters also include the application of the quantitative approach for the hypotheses’ verification. This book makes a giant step ahead of its competitors by implementing the kitsch theory, especially the kitsch experience theory in a broad spectrum of managerial and organisational fields like marketing, advertising, brand management, business communication, entrepreneurship, leadership, decision-making, human resource management, corporate social responsibility, city space management, management of technology and innovation, and organisational culture. It should be a must-read for researchers, academics, practitioners, and advanced students in these fields.
Focusing on the logistics of perception, this title introduces the author's understanding of 'picnolepsy' - the epileptic state of consciousness produced by speed, or rather, the consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it.
Organization students and scholars are able to trace the rise of aesthetics in management studies through the papers presented in this volume. The papers are arranged for individual review or thematic explorations of aesthetic thinking; including review papers and articles that focus on fashion, narrative, theatre, music and craft. This volume is a major contribution for those seeking alternatives to rational and positivist perspectives on management and who are willing to explore those alternatives beyond the usual disciplinary bases.
The New Aesthetic and Art: Constellations of the Postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory and contemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples of art that are increasingly an important influence for today's culture and society.