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This article focuses on the aesthetics of William Wordsworth, particularly his early poetry. The implications of this investigation are far-reaching. To learn about Wordsworth's aesthetics is to learn about Romanticism, specifically radical Romanticism and the intricate relation it forges between aesthetics and democracy. I begin the article with a general account of radical aesthetics, addressing its nature, scope, and its relation to the normative, the political, and the everyday. Next, I turn to the radical aesthetics of Wordsworth. I then compare radical aesthetics to more traditional accounts of aesthetics, concluding by connecting radical Romantic aesthetics to practical power.

This article focuses on the aesthetics of William Wordsworth's work, particularly his early poetry. The implications of this investigation are far-reaching. To learn about Wordsworth's aesthetics is to learn about Romanticism, specifically what I call radical Romanticism and the intricate relation it forges between aesthetics and democracy. I begin the article with a general account of radical aesthetics, addressing its nature, scope, and its relation to the normative, the political, and the everyday. Next, I turn to the radical aesthetics of Words-worth. I then compare radical aesthetics to more traditional accounts of aesthetics, and I conclude by connecting radical Romantic aesthetics to practical power.

Nach einer Klärung des in der Geographie nicht gebräuchlichen Ästhetik-Begriffes werden im zweiten Kapitel Kategorien des Ästhetischen in geographischen Gegenständen 'aufgespürt' und unter verschiedenen inhaltlichen Aspekten erläutert. Daß das Ästhetische untrennbar mit der Zivilisationsgeschichte der Menschen verknüpft ist, wird sich im dritten Kapitel an Konkretisierungen zum politischen Gehalt ästhetischer Prozesse zeigen. Dieser Zusammenhang wird in anthropologischer Hinsicht auch in der weiteren Entwicklung der Arbeit Beachtung finden. Um den möglichen Stellenwert nicht-kognitivistischer Blicke auf die Welt für die Verfassung geographischer Theorien geht es im vierten Kapitel. Die Erträge eines Neuen Denkens für die (Re-) Formulierung geographischer Theorien werden hier in wichtigen Grundlinien umrissen. 'Transversalität' als Vermögen der (denkenden) Manövrierung an Grenzverläufen ist hier eine zentrale Kategorie. Das fünfte und letzte Kapitel leistet eine Anwendung der für das Fach entworfenen Ästhetischen Theorie auf das Beispiel touristischer Planungsprozesse.

"In Thai cinema, nature is often depicted as an opposition to the urban sphere, forming a contrast in ethical terms. This dualism is a recurring and central theme in Thai representations and an important carrier of Thainess (khwam pen Thai). The fi lmmaker Apichatpong Weerasethakul offers a new take on this theme. Significant parts of his work are set in the jungle, a realm radically different from the agricultural sphere that the mainstay of Thai representations tends to focus on. In Apichatpong's work, the wilderness becomes a liminal space, on multiple levels. This paper focuses on how this liminality translates into Apichatpong's aesthetics of the jungle and on how this aesthetics and the
films' narrations negotiate Thai nationhood via the perception of the spectators." (author's abstract)

Im thailändischen Film wird Natur oft im Kontrast zu Urbanität gezeichnet. Dieser Gegensatz wird dabei auch auf eine moralische Ebene übertragen. Er ist ein wiederkehrendes, zentrales Motiv in thailändischen Repräsentationen und ein wichtiger Träger der sogenannten "Thainess" (khwam pen Thai), der nationalen Identität. Der Filmemacher Apichatpong Weerasethakul nähert sich diesem Motiv anders an. Zentrale Passagen seines Werks spielen im Dschungel, der einen gänzlich anderen Bereich darstellt als die domestizierte Natur der üblichen Landschaftsdarstellungen. Im Werk Apichatpongs wird der Dschungel auf mehreren Ebenen zu einem Grenzbereich. Dieser Artikel untersucht, wie sich dieser Grenzstatus in Apichatpongs Ästhetik widerspiegelt und wie diese filmische Ästhetik und Narration das thailändische Konzept des Nationalstaates kommentieren. ; In Thai cinema, nature is often depicted as an opposition to the urban sphere, forming a contrast in ethical terms. This dualism is a recurring and central theme in Thai representations and an important carrier of Thainess (khwam pen Thai). The fi lmmaker Apichatpong Weerasethakul offers a new take on this theme. Significant parts of his work are set in the jungle, a realm radically different from the agricultural sphere that the mainstay of Thai representations tends to focus on. In Apichatpong's work, the wilderness becomes a liminal space, on multiple levels. This paper focuses on how this liminality translates into Apichatpong's aesthetics of the jungle and on how this aesthetics and the films' narrations negotiate Thai nationhood via the perception of the spectators. ; Peer-Reviewed ; Peer-Reviewed

Aesthetics and Economics is a pioneering effort at treating aesthetics from the point of view of economic theory, and addresses the contradictions which have arisen from economists' work in this field over the years. Starting from an historical review of the treatment of aesthetics in economic thought, Aesthetics and Economics goes through the integration of a number of recent advances in economic thinking with the main topics of aesthetics, from creativity to interpretation. The subject is systematically treated on the grounds of a restatement of the optimization analysis on non-consequentialist bases, starting from the Kantian definition of aesthetic judgement up to its contemporary developments. A specific information asymmetry characterizing the agents' behaviours arises from the aesthetic qualification of consumption, production and investment processes, thus affecting the usual equilibrium and optimization conditions, resulting in new institutional interventions in the market. `Certification' of the aesthetic nature of goods and stocks is needed and gives place to original market strategies and optimization problems

In Thai cinema, nature is often depicted as an opposition to the urban sphere, forming a contrast in ethical terms. This dualism is a recurring and central theme in Thai representations and an important carrier of Thainess (khwam pen Thai). The filmmaker Apichatpong Weerasethakul offers a new take on this theme. Significant parts of his work are set in the jungle, a realm radically diff erent from the agricultural sphere that the mainstay of Thai representations tends to focus on. In Apichatpong's work, the wilderness becomes a liminal space, on multiple levels. This paper focuses on how this liminality translates into Apichatpong's aesthetics of the jungle and on how this aesthetics and the films' narrations negotiate Thai nationhood via the perception of the spectators.

"Political Economy, Race, and the Image of Nature in the United States, 1825-1878 is an interdisciplinary work analyzing the historical origins of a dominant concept of Nature in the culture of the United States during the period of its expansion across the continent. Chapters analyze the ways in which "Nature" became a discursive site where theories of race and belonging, adaptation and environment, and the uses of literary and pictorial representation were being renegotiated, forming the basis for an ideal of the human and the nonhuman world that is still with us. Through an interdisciplinary approach involving the fields of visual culture, political economy, histories of racial identity, and ecocritical studies, the book examines the work of seminal figures in a variety of literary and artistic disciplines and puts the visual culture of the United States at the center of intellectual trends that have enormous implications for contemporary cultural practice. The book will be of interest to scholars working in art history, visual culture, American studies, environmental studies/ecocriticism, critical race theory, and semiotics"--

Reflects on the ecopolitical implications of Adorno's writings about natural beauty, the pre-conceptual, & silence as aesthetic response. Adorno's notions are then linked to those put forth by Shierry Weber Nicholsen, who argues that a tension marks our environmental attitudes between feeling a bond with nature & indifference to its destruction. Our interest should lie less in how nature's beauty may render us mute than in how silences serve to evade responsibility for -- & complicity with -- environmental destruction. K. Coddon

What is the relevance of organizing knowledge in distinct conceptual fields when everything has become cultural with no distinct areas anymore? Is, for example, Western traditional aesthetics as an autonomous cognitive discipline always relevant in the age of multiculturalism? This essay argues, albeit controversially, that the perspective of socalled cultural studies has opened new doors by adopting a more radically pluralistic and inclusive approach – one whereby aesthetic categories are thought in terms of cultural practices. Despite the many defects of such culture-related studies – such as their eclecticism, lack of scientific rigor, or methodological unreliability – the challenges of today's multicultural society demand that we pay more attention at all levels to the roles played by difference and dialogue with otherness. This includes overcoming any form of ethnocentricity in our cognitive cultural disciplines; incorporating new topical horizons, whether economic, political or social; and rethinking the very nature of value, meaning and way of life.