Cosmopolitan Aesthetics

New arts created in the context of new social realities are impacting our traditional ideas about aesthetics. Art, art markets and aesthetics now interact in ways that demand new forms of thought and revision of old. Cosmopolitan Aesthetics presents the first thorough account of the challenges facing aesthetics today in the light of globalization, introducing the history that underpins them. This is an ideal starting point for anyone looking to better understand 21st century art and aesthetics. Beginning with globalization and the nature of global art markets today, Daniel Herwitz offers new insight into postcolonial aesthetics, colonial legacies, cultural property, the problems of global communication and aesthetic diversity, and the uneasy connection between aesthetics and politics, before providing a crucial grounding in 18th and 19th century aesthetics, with discussion of the three great modern aestheticians David Hume, Immanuel Kant and G.W.F. Hegel.

New arts created in the context of new social realities are impacting our traditional ideas about aesthetics. Art, art markets and aesthetics now interact in ways that demand new forms of thought and revision of old. Cosmopolitan Aesthetics presents the first thorough account of the challenges facing aesthetics today in the light of globalization, introducing the history that underpins them. This is an ideal starting point for anyone looking to better understand 21st century art and aesthetics. Beginning with globalization and the nature of global art markets today, Daniel Herwitz offers new insight into postcolonial aesthetics, colonial legacies, cultural property, the problems of global communication and aesthetic diversity, and the uneasy connection between aesthetics and politics, before providing a crucial grounding in 18th and 19th century aesthetics, with discussion of the three great modern aestheticians David Hume, Immanuel Kant and G.W.F. Hegel.

New social realities and changes in contemporary art are impacting our traditional ideas about aesthetics. Art, art markets and aesthetics now interact in ways that demand new forms of thought. 'Cosmopolitan Aesthetics' presents the first thorough account of the challenges facing aesthetics today, introducing the history that underpins them. This is an ideal starting point for anyone looking to better understand 21st century aesthetics and art. Not only does Daniel Herwitz show how aesthetics was born as a series of philosophical positions on taste, beauty and the sublime, he explains what a global world means for aesthetics.

Professor Heinz Kimmerle encountered African philosophy at a time when his specialisation in the philosophy of Hegel had attained world recognition. For Hegel, African philosophy did not exist in Sub-Saharan Africa, exactly the area in which Kimmerle made his first contact with African philosophy. Hegel’s philosophy was not a stranger to Sub-Saharan Africa. This was because the Western educational paradigm was imposed upon the conquered, colonized peoples during the period of colonisation. Unlike Hegel, Kimmerle took African philosophy seriously and engaged, initially, in dialogues with African philosophy. Out of the unfolding dialogues grew intercultural philosophy spearheaded by Kimmerle’s penetrating, insightful and incisive critique of some of the fundamental presuppositions of Hegel’s philosophy. The essays contained in this book focus on the evolution of Kimmerle’s conception and meaning of intercultural philosophy. Underlying this are recognition and respect for other modes of doing philosophy as manifestations of intercultural philosophy. To deny dialogues, if you prefer, polylogue among world philosophies, is to reject the very basis of philosophy. Thus a crucial dimension of philosophy would be precluded, which can be found in this book, namely, the critical evaluation of Kimmerle’s conception and meaning of intercultural philosophy.

The golden age of Malay film in the 1950s and 1960s was the product of a musical and cultural cosmopolitanism in the service of a nation-making process based on ideas of Malay ethnonationalism, initially fluid, increasingly homogenised over time. The commercial films of the period, and in particular their film music, from national cultural icons P. Ramlee and Zubir Said, remain important reference points for Malaysia and Singapore to this day. This is the first in-depth study of the film music of the period. It brings together ethnomusicological and cultural studies perspectives. Written in an engaging manner, thoroughly illustrated and incorporating musical scores, the book will appeal to dedicated film fans, musicians, composers and film-makers interested in Southeast Asia and the Malay world. But equally, the conceptual framework will be of interest to a broad range of scholars of Southeast Asia, as it brings together ideas of cosmopolitanism and cultural intimacy to narrate a history of nation-making in the region.

An ethnography of urban citizenship, global belonging, and queerness in a rapidly growing provincial city in the Global South, Queerly Cosmopolitan explores how people develop a sense of belonging in a city understood by many to be “unimportant” and “in the middle of nowhere.” In his exploration of the city of Teresina and its inhabitants’ attempts to establish a sense of belonging and self-worth, Timothy Eugene Murphy creatively employs queer theory to investigate a community of bohemians. As he follows the participants through different realms of life—nocturnal bohemia, work, family, and intimate friendships—Murphy demonstrates how widely circulating cultural forms, from music to sexuality, offer upwardly mobile communities ways to fashion cosmopolitan lives in even the most peripheral locations.

We encounter in our lives things and situations that elicit from us special forms of attention. They affect and inform us in various ways, drawing us in and holding us in their grasp or turning us away. Works of art of all sorts, and nature in its myriad manifestations, exemplify these luring and repelling qualities and potencies. Dimensions of Aesthetic Encounters explores central perceptual, interpretative, and semiotic dimensions of these encounters, combining a wide range of examples and intellectual resources from pragmatist, hermeneutical, and semiotic frameworks. Practicing a kind of "method of rotation" Robert E. Innis breaks down barriers in aesthetic theory and shows their complementary powers. Recurring themes link each chapter, throwing a powerful light on aesthetic encounters by foregrounding such pivotal notions as play, fundedness and the role of memory, the defining quality of an artwork, energies of objects, potencies, rhythm, form, presentational abstraction, medium, symbolization, intuition, role of the body, and the non-argumentative nature of art.

Examining the way people imagine and interact in their cities, this book explores the post-cosmopolitan city. The contributors consider the effects of migration, national, and religious revivals (with their new aesthetic sensibilities), the dispositions of marginalized economic actors, and globalized tourism on urban sociality. The case studies here share the situation of having been incorporated in previous political regimes (imperial, colonial, socialist) that one way or another created their own kind of cosmopolitanism, and now these cities are experiencing the aftermath of these regimes while being exposed to new national politics and migratory flows of people. Caroline Humphrey is a Research Director in the Department of Social Anthropology at the University of Cambridge. She has worked in the USSR/Russia, Mongolia, Inner Mongolia, Nepal, and India. Her research interests include socialist and post-socialist society, religion, ritual, economy, history, and the contemporary transformations of cities. Vera Skvirskaja is a postdoctoral researcher in the Department of Anthropology at Copenhagen University. She has worked in arctic Siberia, Uzbekistan and Ukraine. Her recent research interests include urban cosmopolitanism, educational migration in Europe and coexistence in the post-Soviet city.