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Taking as its point of departure a sharp critique of Rawls's influential A Theory of Justice—which, like most Western political philosophy since the seventeenth century, considers ethics to be foundational to a proper understanding of the political—this book looks at politics from an aesthetic perspective.

To achieve this, it focuses on the notion of political "representation" as the heart of parliamentary democracy, openly welcoming and embracing all the aestheticist connotations of the term. Representation will always present us with an "aesthetic gap" between the represented and the representation; it is in this aesthetic gap that legitimate political power and all political creativity originate.

In a representative democracy, this aesthetic gap appears in the fact that the representative is not a mandatary but a delegate of the voter (possessing a certain autonomy with regard to the voter, much in the same way that a painting has a certain autonomy vis-à-vis what it depicts). This was made clear by Burke more than two centuries ago and has been the practice of well-functioning representative democracies to the present day. The author sees totalitarianism as the inevitable consequence of the abandonment of aestheticism.

This "brokenness" of the political world of representative democracy places an aesthetic political philosophy of democracy in the tradition of Machiavelli, Montesquieu, Tocqueville, and Schumpeter, by contrast to most of contemporary political philosophy. The aesthetic view enables us to develop a new and original account of the origins and nature of democracy, one that demonstrates how the present shortcomings of democracy can best be remedied to meet the challenges of the new century.

Taking as its point of departure a sharp critique of Rawls's influential A Theory of Justice—which, like most Western political philosophy since the seventeenth century, considers ethics to be foundational to a proper understanding of the political—this book looks at politics from an aesthetic perspective.

To achieve this, it focuses on the notion of political "representation" as the heart of parliamentary democracy, openly welcoming and embracing all the aestheticist connotations of the term. Representation will always present us with an "aesthetic gap" between the represented and the representation; it is in this aesthetic gap that legitimate political power and all political creativity originate.

In a representative democracy, this aesthetic gap appears in the fact that the representative is not a mandatary but a delegate of the voter (possessing a certain autonomy with regard to the voter, much in the same way that a painting has a certain autonomy vis-à-vis what it depicts). This was made clear by Burke more than two centuries ago and has been the practice of well-functioning representative democracies to the present day. The author sees totalitarianism as the inevitable consequence of the abandonment of aestheticism.

This "brokenness" of the political world of representative democracy places an aesthetic political philosophy of democracy in the tradition of Machiavelli, Montesquieu, Tocqueville, and Schumpeter, by contrast to most of contemporary political philosophy. The aesthetic view enables us to develop a new and original account of the origins and nature of democracy, one that demonstrates how the present shortcomings of democracy can best be remedied to meet the challenges of the new century.

Euripides’ Electra opened up for its audience an opportunity to become self-aware as to the appeal of tragic Kunstsprache: it both reflected and sustained traditional, aristocratically-inflected assumptions about the continuity of appearance and substance, even in a radical democracy. A complex analogy between social and aesthetic valuation is played out and brought to light. The characterization of Orestes early in the play demonstrates how social appearances made clear the identity of well-born, and how they were still assumed to indicate superior virtue and agency. On the aesthetic side of the analogy, one of the functions of tragic diction, as an essential indication of heroic character and agency, comes into view in a dramatic and thematic sequence that begins with Achilles ode and ends with the planning of the murders. Serious doubts are created as to whether Orestes will realize the assumed potential inherent in his heroic genealogy and, at the same time, as to whether the components of his character as an aesthetic construct are congruent with such qualities and agency. Both sides of this complex analogy are thus problematized, and, at a metapoetic level, its nature and bases are exposed for reflection.

This volume is dedicated to the interrelation between temporality and representation. It presumes that time cannot be conceived of as an abstract chronometric order, but that it is referring to materiality, being measured, represented, expressed, recognized, experienced and evaluated, and therefore is always closely related to cultural contexts of perception and evaluation.
The contributions from various disciplines are dedicated to the present and its plural conditions and meanings. They provide insights into the state of research with special emphasis on the global present as well as on art and aesthetics from the 18th century until today.
The anthology includes contributions by Mieke Bal, Stefan Binder, Maximilian Bergengruen, Iris Därmann, Gabriele Genge, Boris Roman Gibhardt, Boris Groys, Maria Muhle, Johannes F. Lehmann, Nkiru Nzegwu, Francesca Raimondi, Christine Ross, Ludger Schwarte, Angela Stercken, Samuel Strehle, Timm Trausch, Patrick Stoffel, and Christina Wessely.

This book draws on aesthetic theory, including ideas from the history of painting, music and dance, to offer a fresh perspective on the video game as a popular cultural form. It argues that games like Grand Theft Auto and Elektroplankton are aesthetic objects that appeal to players because they offer an experience of form, as this idea was understood by philosophers like Immanuel Kant and Theodor Adorno.

Video games are awkward objects that have defied efforts to categorise them within established academic disciplines and intellectual frameworks. Yet no one can deny their importance in re-configuring contemporary culture and their influence can be seen in contemporary film, television, literature, music, dance and advertising. This book argues that their very awkwardness should form the starting point for a proper analysis of what games are and the reasons for their popularity. This book will appeal to anyone with a serious interest in the increasingly playful character of contemporary capitalist culture.

Fred Orton's teaching and writing has always combined theoretical and formal-which is to say structural-analysis with historical research and reflection. This collection of essays brings together some of his most decisive contributions to thinking about fine art practice and rethinking the theory and methods of the social history of art. In this collection Orton brilliantly moves from Paul Cezanne to Jasper Johns, from the American cultural critic Harold Rosenberg to a discussion of Marx and Engels' notion of ideology. What emerges is more than an anthology, this collection offers a vivid demonstration of the way theory can work to generate new interpretations and unsettle old ones.

The book is the first English translation of Nicolai Hartmann's final book, published in 1953. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Aesthetics, Hartmann believes, centers on the phenomenon of beauty, and art “objectivates” beauty, but beauty exists only for a prepared observer.

Part One explores the act of aesthetic appreciation and its relation to the aesthetic object. It discovers phenomenologically determinable levels of apprehension. Beauty appears when an observer peers through the physical foreground of the work into the strata upon which form has been bestowed by an artist in the process of expressing some theme. The theory of the stratification of aesthetic objects is perhaps Hartmann's most original and fundamental contribution to aesthetics. He makes useful and perceptive distinctions between the levels in which beauty is given to perception by nature, in the performing and the plastic arts, and in literature of all kinds.

Part Two develops the phenomenology of beauty in each of the fine arts. Then Hartmann explores some traditional categories of European aesthetics, most centrally those of unity of value and of truth in art.

Part Three discusses the forms of aesthetic values. Hartmann contrasts aesthetic values with moral values, and this exploration culminates in an extensive phenomenological exhibition of three specific aesthetic values, the sublime, the charming, and the comic. A brief appendix, never completed by the author, contains some reflections upon the ontological implications of aesthetics.

Engaged in constant dialogue with thinkers of the past, especially with Aristotle, Kant and Hegel, Hartmann corrects and develops their insights by reference to familiar phenomena of art, especially with Shakespeare, Rembrandt and Greek sculpture and architecture. In the course of his analysis, he considers truth in art (the true-to-life and the essential truth), the value of art, and the relation of art and morality.

The work stands with other great 20th century contributors to art theory and philosophical aesthetics: Heidegger, Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.

The book is the first English translation of Nicolai Hartmann's final book, published in 1953. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Aesthetics, Hartmann believes, centers on the phenomenon of beauty, and art “objectivates” beauty, but beauty exists only for a prepared observer.

Part One explores the act of aesthetic appreciation and its relation to the aesthetic object. It discovers phenomenologically determinable levels of apprehension. Beauty appears when an observer peers through the physical foreground of the work into the strata upon which form has been bestowed by an artist in the process of expressing some theme. The theory of the stratification of aesthetic objects is perhaps Hartmann's most original and fundamental contribution to aesthetics. He makes useful and perceptive distinctions between the levels in which beauty is given to perception by nature, in the performing and the plastic arts, and in literature of all kinds.

Part Two develops the phenomenology of beauty in each of the fine arts. Then Hartmann explores some traditional categories of European aesthetics, most centrally those of unity of value and of truth in art.

Part Three discusses the forms of aesthetic values. Hartmann contrasts aesthetic values with moral values, and this exploration culminates in an extensive phenomenological exhibition of three specific aesthetic values, the sublime, the charming, and the comic. A brief appendix, never completed by the author, contains some reflections upon the ontological implications of aesthetics.

Engaged in constant dialogue with thinkers of the past, especially with Aristotle, Kant and Hegel, Hartmann corrects and develops their insights by reference to familiar phenomena of art, especially with Shakespeare, Rembrandt and Greek sculpture and architecture. In the course of his analysis, he considers truth in art (the true-to-life and the essential truth), the value of art, and the relation of art and morality.

The work stands with other great 20th century contributors to art theory and philosophical aesthetics: Heidegger, Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.

Darwin famously proposed that sexual competition and courtship is (or at least was) the driving force of “art” production not only in animals, but also in humans. The present book is the first to reveal that Darwin’s hypothesis, rather than amounting to a full-blown antidote to the humanist tradition, is actually strongly informed both by classical rhetoric and by English and German philosophical aesthetics, thereby Darwin’s theory far richer and more interesting for the understanding of poetry and song.

The book also discusses how the three most discussed hypothetical functions of the human arts––competition for attention and (loving) acceptance, social cooperation, and self-enhancement––are not mutually exclusive, but can well be conceived of as different aspects of the same processes of producing and responding to the arts.

Finally, reviewing the current state of archeological findings, the book advocates a new hypothesis on the multiple origins of the human arts, posing that they arose as new variants of human behavior, when three ancient and largely independent adaptions––sensory and sexual selection-driven biases regarding visual and auditory beauty, play behavior, and technology––joined forces with, and were transformed by, the human capacities for symbolic cognition and language.

Darwin famously proposed that sexual competition and courtship is (or at least was) the driving force of “art” production not only in animals, but also in humans. The present book is the first to reveal that Darwin’s hypothesis, rather than amounting to a full-blown antidote to the humanist tradition, is actually strongly informed both by classical rhetoric and by English and German philosophical aesthetics, thereby Darwin’s theory far richer and more interesting for the understanding of poetry and song.

The book also discusses how the three most discussed hypothetical functions of the human arts––competition for attention and (loving) acceptance, social cooperation, and self-enhancement––are not mutually exclusive, but can well be conceived of as different aspects of the same processes of producing and responding to the arts.

Finally, reviewing the current state of archeological findings, the book advocates a new hypothesis on the multiple origins of the human arts, posing that they arose as new variants of human behavior, when three ancient and largely independent adaptions––sensory and sexual selection-driven biases regarding visual and auditory beauty, play behavior, and technology––joined forces with, and were transformed by, the human capacities for symbolic cognition and language.

The text discusses how, in the post-industrial era (especially in developed Western countries), higher-order needs like self-expression and lifestyle have gained prominence. This has led to the broader application of aesthetic criteria in consumer culture and product evaluation. The interpenetration of art and life has affected various cultural spheres, including marketing, journalism, politics, religion, education, and science. Media aesthetics has emerged as a field of study, and linguoaesthetic problems are now important in social communication research. Linguoaesthetics is understood as an integrative approach to studying aesthetic speech acts and discourses, incorporating elements of communication theory, language theory, and literary and art theory.

RUS:

В постиндустриальную эпоху, особенно в наиболее развитых странах Северной Америки и Западной Европы, уровень жизни людей улучшился настолько, что потребности высшего порядка, ранее считавшиеся комплементарными, например, самовыражение, самоидентификация, стиль жизни, выдвинулись на первый план. Это нашло проявление в том, что эстетические критерии стали более широко применяться в потребительской культуре и, в частности, оценке продуктов. Взаимопроникновение искусства и жизни охватило практически все сферы культуры: маркетинг, журналистику, политику, религию, образование, науку и др. Возникла и стала востребованной медиаэстетика как самостоятельная область научных исследований. Лингвоэстетические проблемы сегодня занимают важное место в исследованиях разных сфер социальной коммуникации, при этом лингвоэстетика понимается как область научных исследований, в основе которой лежит интегративный подход кbизучению эстетических речевых актов и дискурсов, включающий элементы теории коммуникации, теории языка, теории литературы и искусства.

New, completely revised and re-written edition. Offers a detailed but accessible account of the vital German philosophical tradition of thinking about art and the self. Looks at recent historical research and contemporary arguments in philosophy and theory in the humanities, following the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantics, Schelling, Hegel, Schleiermacher, to Nietzsche. Develops the approaches to subjectivity, aesthetics, music and language in relation to new theoretical developments bridging the divide between the continental and analytical traditions of philosophy. The huge growth of interest in German philosophy as a resource for re-thinking both literary and cultural theory, and contemporary philosophy will make this an indispensable read.

An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

Since the inception of cinema in the late nineteenth century, filmmakers have employed a wide array of precursory aesthetic strategies in the conception and creation of their disparate works. The existence of these traditional antecedents have afforded filmmakers a diverse range of technical and artistic applications towards the construction of their cinematic narratives. Furthermore, the socio-political and cultural contexts in which films are conceived often inform the manner in which particular aesthetic sensibilities are selected and deployed. Unfortunately, many creative artists – and audiences – remain unfamiliar with Aesthetics as a practical discipline and how it might apply to their own creative and/or interpretive pursuits.

‘Aesthetics and the Cinematic Narrative’ provides a concise historical survey of Aesthetics as a philosophical discipline and applies several of its underlying principles to the examination of filmic storytelling. The book’s four chapters codify working definitions of the relevant terms and concepts, employing specific case studies to illustrate how certain aesthetic stratagems govern a film’s structural design and execution. By drawing connections between the technical/creative decisions filmmakers must make and more time-honoured traditions regarding the nature of art, the structures of storytelling and the import of visual imagery, ‘Aesthetics and the Cinematic Narrative’ helps recontextualize film within a wider sphere of artistic/intellectual endeavour. The book is a useful and much-needed addition to the pre-existing canon for students of visual storytelling and for general readers.

Since the inception of cinema in the late nineteenth century, filmmakers have employed a wide array of precursory aesthetic strategies in the conception and creation of their disparate works. The existence of these traditional antecedents have afforded filmmakers a diverse range of technical and artistic applications towards the construction of their cinematic narratives. Furthermore, the socio-political and cultural contexts in which films are conceived often inform the manner in which particular aesthetic sensibilities are selected and deployed. Unfortunately, many creative artists – and audiences – remain unfamiliar with Aesthetics as a practical discipline and how it might apply to their own creative and/or interpretive pursuits.

‘Aesthetics and the Cinematic Narrative’ provides a concise historical survey of Aesthetics as a philosophical discipline and applies several of its underlying principles to the examination of filmic storytelling. The book’s four chapters codify working definitions of the relevant terms and concepts, employing specific case studies to illustrate how certain aesthetic stratagems govern a film’s structural design and execution. By drawing connections between the technical/creative decisions filmmakers must make and more time-honoured traditions regarding the nature of art, the structures of storytelling and the import of visual imagery, ‘Aesthetics and the Cinematic Narrative’ helps recontextualize film within a wider sphere of artistic/intellectual endeavour. The book is a useful and much-needed addition to the pre-existing canon for students of visual storytelling and for general readers.

The general scope of the present volume is to present a variety of approaches and topics within the growing field of research on Byzantine aesthetics. Theurgy in Neoplatonic and Christian contexts is represented by the contributions of W.-M. Stock and L. Bergemann; theories of beauty are at the centre of interest of the papers by S. Mariev and M. Marchetto. A. Pizzone approaches Byzantine aesthetics by looking for aesthetic experience in the literary texts, while the remaining contributions explore issues related to the iconoclast controversy: An important moment in the development of Byzantine philosophy on the eve of iconoclasm is the primary interest of A. del Campo Echevarría, who looks at the question of universals in John of Damaskos. The relationship between image and text in Byzantine illustrated manuscripts occupies the attention of B. Crostini. D. Afinogenov explores from a philological perspective the fate of important iconophile terminology in Old Bulgarian, while L. Lukhovitskij reconstructs from historical and philological perspectives the historical memory of the iconoclast controversy during the Late Byzantine Period.

In various ways, the essays presented in this volume explore the structures and aesthetic possibilities of music, dance and dramatic representation in ritual and theatrical situations in a diversity of ethnographic contexts in Europe, the Americas, Africa and Asia. Each essay enters into a discussion of the “logic” of aesthetic processes exploring their social and political and symbolic import. The aim is above all to explore the way artistic and aesthetic practices in performance produce and structure experience.

In various ways, the essays presented in this volume explore the structures and aesthetic possibilities of music, dance and dramatic representation in ritual and theatrical situations in a diversity of ethnographic contexts in Europe, the Americas, Africa and Asia. Each essay enters into a discussion of the “logic” of aesthetic processes exploring their social and political and symbolic import. The aim is above all to explore the way artistic and aesthetic practices in performance produce and structure experience.

This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of appearing. Appearing bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, appearing plays its part everywhere in the aesthetic realm, in all aesthetic activity.

In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which in continental as well as analytical thinking have been more and more separated in the recent decades. Within Seel's framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is appearing is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about.

This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of appearing. Appearing bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, appearing plays its part everywhere in the aesthetic realm, in all aesthetic activity.

In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which in continental as well as analytical thinking have been more and more separated in the recent decades. Within Seel's framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is appearing is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about.

Maurice Blanchot and Theodor W. Adorno are among the most difficult but also the most profound thinkers in twentieth-century aesthetics. While their methods and perspectives differ widely, they share a concern with the negativity of the artwork conceived in terms of either its experience and possibility or its critical expression. Such negativity is neither nihilistic nor pessimistic but concerns the status of the artwork and its autonomy in relation to its context or its experience. For both Blanchot and Adorno negativity is the key to understanding the status of the artwork in post-Kantian aesthetics and, although it indicates how art expresses critical possibilities, albeit negatively, it also shows that art bears an irreducible ambiguity such that its meaning can always negate itself. This ambiguity takes on an added material significance when considered in relation to language as the negativity of the work becomes aesthetic in the further sense of being both sensible and experimental, and in doing so the language of the literary work becomes a form of thinking that enables materiality to be thought in its ambiguity.

In a series of rich and compelling readings, William S. Allen shows how an original and rigorous mode of thinking arises within Blanchot’s early writings and how Adorno’s aesthetics depends on a relation between language and materiality that has been widely overlooked. Furthermore, by reconsidering the problem of the autonomous work of art in terms of literature, a central issue in modernist aesthetics is given a greater critical and material relevance as a mode of thinking that is abstract and concrete, rigorous and ambiguous. While examples of this kind of writing can be found in the works of Blanchot and Beckett, the demands that such texts place on readers only confirm the challenges and the possibilities that literary autonomy poses to thought.

This volume is the first English language presentation of the innovative approaches developed in the aesthetics of religion. The chapters present diverse material and detailed analysis on descriptive, methodological and theoretical concepts that together explore the potential of an aesthetic approach for investigating religion as a sensory and mediated practice. In dialogue with, yet different from, other major movements in the field (material culture, anthropology of the senses, for instance), it is the specific intent of this approach to create a framework for understanding the interplay between sensory, cognitive and socio-cultural aspects of world-construction. The volume demonstrates that aesthetics, as a theory of sensory knowledge, offers an elaborate repertoire of concepts that can help to understand religious traditions. These approaches take into account contemporary developments in scientific theories of perception, neuro-aesthetics and cultural studies, highlighting the socio-cultural and political context informing how humans perceive themselves and the world around them. Developing since the 1990s, the aesthetic approach has responded to debates in the study of religion, in particular striving to overcome biased categories that confined religion either to texts and abstract beliefs, or to an indisputable sui generis mode of experience. This volume documents what has been achieved to date, its significance for the study of religion and for interdisciplinary scholarship.

This volume is the first English language presentation of the innovative approaches developed in the aesthetics of religion. The chapters present diverse material and detailed analysis on descriptive, methodological and theoretical concepts that together explore the potential of an aesthetic approach for investigating religion as a sensory and mediated practice. In dialogue with, yet different from, other major movements in the field (material culture, anthropology of the senses, for instance), it is the specific intent of this approach to create a framework for understanding the interplay between sensory, cognitive and socio-cultural aspects of world-construction. The volume demonstrates that aesthetics, as a theory of sensory knowledge, offers an elaborate repertoire of concepts that can help to understand religious traditions. These approaches take into account contemporary developments in scientific theories of perception, neuro-aesthetics and cultural studies, highlighting the socio-cultural and political context informing how humans perceive themselves and the world around them. Developing since the 1990s, the aesthetic approach has responded to debates in the study of religion, in particular striving to overcome biased categories that confined religion either to texts and abstract beliefs, or to an indisputable sui generis mode of experience. This volume documents what has been achieved to date, its significance for the study of religion and for interdisciplinary scholarship.

Aesthetics is no longer merely the philosophy of perception and the arts. Nelson Goodman, Arthur Danto and others have contributed to develop aesthetics from a field at the margins of philosophy to one permeating substantial areas of theoretical and practical philosophy. New approaches like environmental and ecological aesthetics widened the understanding of the aesthetics of nature. The contributions in this volume address the most important issues in contemporary aesthetics, many of them from a Wittgensteinian perspective.

The 39th International Ludwig Wittgenstein Symposium, organized by the Austrian Ludwig Wittgenstein Society, was held at Kirchberg am Wechsel, Lower Austria, from August 7th to 13th 2016 and aimed at taking an inventory of important tendencies and positions in contemporary aesthetics. The volume includes a selection of the invited papers.

The late-antique Roman poet Claudian has enjoyed an upsurge of interest in his work for some thirty years. In spite of increasing appreciation for his artistry, Claudian's position within the history of Latin literature has not been clearly defined. This volume presents the results of the first symposium ever devoted to Claudian and Latin literature. Well-known scholars such as Franca Ela Consolino, Manfred Fuhrmann, Siegmar Döpp, Isabella Gualandri, Jacqueline Long, and Peter Lebrecht Schmidt join several younger scholars to cast new light on the literary and cultural context of Claudian's works, on his themes and preoccupations, his aesthetics, and on the later reception of his work. The different contributions together give a sense not only of unity within the varied corpus of Claudian's poetry, which comprises political and mythological epic, epigrams, and elegies, but also of how much Claudian is representative of the major trends of his times. Finally, the book shows how far modern criticism has advanced towards an integrated understanding of Claudian's work.

In earlier scholarship, the late antique medical compilations of Oribasius of Pergamon, Aetius of Amida and Paul of Aegina were rather neglected and were believed to add nothing new themselves to what Galen, in particular, had to say. By now, scholarship has undergone a positive change in attitude towards these authors and their works. This book contributes to this modern picture of late antiquity as a vibrant and fascinating period through close analysis of the work of Aetius of Amida (6th century CE). It offers the very first modern translation of chapters 1–10 of the sixth book of Aetius’ Libri medicinales as well as a detailed commentary on these chapters. Together with an extensive introduction it thus makes Aetius’ treatise accessible to a wider audience and takes into account Aetius’ craft as a compiler by analyzing his literary and compilation techniques. Book 6 of Aetius’ compilation is especially interesting because it deals with diseases of the brain and thus also discusses mental illnesses such as phrenitis, melancholia or mania. Therefore, this volume also sheds light on the treatment of brain diseases in late antiquity and furthers our understanding of the history of mental disorders in ancient medical texts.

This title from the De Gruyter Book Archive has been digitized in order to make it available for academic research. It was originally published under National Socialism and has to be viewed in this historical context. Learn more here.

• PRACTICAL ADVICE ON AFFAIRS: and on dealing with the aftermath of an affair.
• WHY DO AFFAIRS HAPPEN?: historical and psychological framework to help us understand affairs-both the lead up, and the aftermath.
• A FRESH TAKE ON INFIDELITY: and how it impacts our lives.
• PART OF THE SCHOOL OF LIFE'S LOVE SERIES: focusing on the joys and sorrows of relationships.

Affairs of party, Jean Baker asserts, were a central feature of public life in nineteenth-century America. In this book she explores the way in which the Northern Democrats of the mid-eighteen hundreds lived their public lives. She begins with a psychobiographical explanation of how people became Democrats, weighing the importance of such influences as education and family life. She then discusses two major elements that set Democrats apart from members of other political organizations: a modified Republican ideology tailored to the circumstances of the Civil War, and a mordant racism conveyed most strikingly through minstrelsy. Finally, Baker studies the neglected subject of partisan behavior, concentrating on the significance of parades, voting, and other rituals.

In Affairs of Party Jean Baker brings together the three basic components of a political culture—education, thought, and behavior—and provides an understanding of the collective values of Northern Democrats and an insight into the elusive meaning of party experience.

In her new preface, Professor Baker places her book in the context of both recent scholarship and recent political and cultural developments.

Affairs of party, Jean Baker asserts, were a central feature of public life in nineteenth-century America. In this book she explores the way in which the Northern Democrats of the mid-eighteen hundreds lived their public lives. She begins with a psychobiographical explanation of how people became Democrats, weighing the importance of such influences as education and family life. She then discusses two major elements that set Democrats apart from members of other political organizations: a modified Republican ideology tailored to the circumstances of the Civil War, and a mordant racism conveyed most strikingly through minstrelsy. Finally, Baker studies the neglected subject of partisan behavior, concentrating on the significance of parades, voting, and other rituals.

In Affairs of Party Jean Baker brings together the three basic components of a political culture—education, thought, and behavior—and provides an understanding of the collective values of Northern Democrats and an insight into the elusive meaning of party experience.

In her new preface, Professor Baker places her book in the context of both recent scholarship and recent political and cultural developments.

This first modern history of American public life after the Civil War is a work of magisterial sweep and sophisticated insight. It will be the standard work on the era for many years to come.

Integrating political, legal, and administrative history on a scale not previously attempted, Morton Keller examines crosscurrents in American institutions during a key transitional period in American history—a period that began with the end of a bloody civil war and ended with the beginning of massive industrialization. At the same time, he vividly captures the energy and optimism of a young country about to burst into the twentieth century.

Keller begins by reviewing the twin legacies of the Civil War: a strengthened belief in an active national government and a vigorous drive toward civil equality. He moves on to the postwar years when centralizing and reformist tendencies were evident everywhere, not only in the Reconstructed South but also in a renewed North. After the 1880s, however, the pendulum began to swing back, and Americans faced the social and economic upheavals of the last decades of the nineteenth century with deeply divided views—an uncertainty that persists in our own day.

Affect and Emotion includes a variety of chapters by some of the most prominent scholars in the area of emotions and leadership, as well as chapters by rising stars. These chapters chart the direction of future research in affect and leadership in four main areas. First, several of these chapters make a convincing argument that leaders use emotional labor and other forms of emotional displays to influence followers and team members. Leaders may use emotional labor to manage relational identities, or to create favorable impressions on followers and to create trust. Leaders' active emotional displays increase vision related performance and perception of transformational leadership.

Second, one chapter reveals how emotions play an important role in leadership at every level, from within-person to organization-wide leadership. Leader's emotional labor plays an important role in several of these levels, with the exact method of performing emotional labor varying by level. A second chapter also examines levels of leadership, with a particular examination of the effects of leader emotional labor on close and distant leadership. Third, several of the chapters examine emotions from the authentic leadership and positive leadership perspectives, and two of these chapters focus on how psychological capital and authentic leadership skills help leaders be resilient and overcome obstacles. Fourth, two of the chapters show the role of affect and friendship ties to leadership research. One of these chapters examines the need to develop psychometrically sound measures of affect and friendship, whereas the other develops a model of how affect influences social network ties and informal leadership emergence. Taken together, these chapters illustrate four important research trends in emotions and leadership that are likely to grow in importance in the coming years.

Affect and Emotion includes a variety of chapters by some of the most prominent scholars in the area of emotions and leadership, as well as chapters by rising stars. These chapters chart the direction of future research in affect and leadership in four main areas. First, several of these chapters make a convincing argument that leaders use emotional labor and other forms of emotional displays to influence followers and team members. Leaders may use emotional labor to manage relational identities, or to create favorable impressions on followers and to create trust. Leaders' active emotional displays increase vision related performance and perception of transformational leadership.

Second, one chapter reveals how emotions play an important role in leadership at every level, from within-person to organization-wide leadership. Leader's emotional labor plays an important role in several of these levels, with the exact method of performing emotional labor varying by level. A second chapter also examines levels of leadership, with a particular examination of the effects of leader emotional labor on close and distant leadership. Third, several of the chapters examine emotions from the authentic leadership and positive leadership perspectives, and two of these chapters focus on how psychological capital and authentic leadership skills help leaders be resilient and overcome obstacles. Fourth, two of the chapters show the role of affect and friendship ties to leadership research. One of these chapters examines the need to develop psychometrically sound measures of affect and friendship, whereas the other develops a model of how affect influences social network ties and informal leadership emergence. Taken together, these chapters illustrate four important research trends in emotions and leadership that are likely to grow in importance in the coming years.

This book is about contemporary Brazilian fiction from the past two decades and concerned with the possibilities of literary intervention in the reality of the historical moment. Thus, an understanding of the actual role of literature is strategic in the definition of the contemporary, and the book shows an optimism among current writers and artists with respect to the aesthetic, ethical, and political role of literature and art in the twentieth century. 

In contemporary Brazilian prose, two simultaneous ambitions are often reconciled. The commitment to individual or social reality is a challenge that is assumed without thereby necessarily accepting and following the molds of the traditional search for national or cultural identities. This foundation is one of the constants of contemporary prose, without thereby eliminating the continuous existence of a formal experimentalism that is the clearest heir of the modernist project.

Recent literary studies of Brazil generally accept that there was a transformation in the 1960s and 1970s, from a narrative mainly situated in regional areas or the backlands, to the appearance of the big city as a contradictory scenario for national literature. Novelists and short story writers who are consolidated at that time encounter in the big cities of São Paulo and Rio de Janeiro a reality that not only brought a promise of modernity, but also produced a civic marginality that came with extreme poverty, violence, and organized crime. In the 1990s and 2000s, a generation of writers appeared who revived programmatic principles of this urban prose and who began the new century with a new demand for the real. Such a demand included references from historical realism and at the same time preserved a desire to experiment aesthetically in search of effects and affects, through a performative writing that was articulated in the translation of the historical temporality, mainly in the exploration of a lived presence. The narratives discussed are situated in a spatial referentiality that abandons the imaginary construction of the nation, an important task of modern literature, in favor of stories that are globalized by exploring ways to include Brazilian culture and language in new international networks.

This book is about contemporary Brazilian fiction from the past two decades and concerned with the possibilities of literary intervention in the reality of the historical moment. Thus, an understanding of the actual role of literature is strategic in the definition of the contemporary, and the book shows an optimism among current writers and artists with respect to the aesthetic, ethical, and political role of literature and art in the twentieth century. 

In contemporary Brazilian prose, two simultaneous ambitions are often reconciled. The commitment to individual or social reality is a challenge that is assumed without thereby necessarily accepting and following the molds of the traditional search for national or cultural identities. This foundation is one of the constants of contemporary prose, without thereby eliminating the continuous existence of a formal experimentalism that is the clearest heir of the modernist project.

Recent literary studies of Brazil generally accept that there was a transformation in the 1960s and 1970s, from a narrative mainly situated in regional areas or the backlands, to the appearance of the big city as a contradictory scenario for national literature. Novelists and short story writers who are consolidated at that time encounter in the big cities of São Paulo and Rio de Janeiro a reality that not only brought a promise of modernity, but also produced a civic marginality that came with extreme poverty, violence, and organized crime. In the 1990s and 2000s, a generation of writers appeared who revived programmatic principles of this urban prose and who began the new century with a new demand for the real. Such a demand included references from historical realism and at the same time preserved a desire to experiment aesthetically in search of effects and affects, through a performative writing that was articulated in the translation of the historical temporality, mainly in the exploration of a lived presence. The narratives discussed are situated in a spatial referentiality that abandons the imaginary construction of the nation, an important task of modern literature, in favor of stories that are globalized by exploring ways to include Brazilian culture and language in new international networks.

How is affective experience produced in the cinema? And how can we write a history of this experience? By asking these questions, this study by Hauke Lehmann aims at rethinking our conception of a critical period in US film history – the New Hollywood: as a moment of crisis that can neither be reduced to economic processes of adaption nor to a collection of masterpieces. Rather, the fine-grained analysis of core films reveals the power of cinematic images to affect their audiences – to confront them with the new. The films of the New Hollywood redefine the divisions of the classical genre system in a radical way and thereby transform the way spectators are addressed affectively in the cinema. The study describes a complex interplay between three modes of affectivity: suspense, paranoia, and melancholy. All three, each in their own way, implicate spectators in the deep-seated contradictions of their own feelings and their ways of being in the world: their relations to history, to society, and to cultural fantasy. On this basis, Affect Poetics of the New Hollywood projects an original conception of film history: as an affective history which can be re-written up to the present day.

How is affective experience produced in the cinema? And how can we write a history of this experience? By asking these questions, this study by Hauke Lehmann aims at rethinking our conception of a critical period in US film history – the New Hollywood: as a moment of crisis that can neither be reduced to economic processes of adaption nor to a collection of masterpieces. Rather, the fine-grained analysis of core films reveals the power of cinematic images to affect their audiences – to confront them with the new. The films of the New Hollywood redefine the divisions of the classical genre system in a radical way and thereby transform the way spectators are addressed affectively in the cinema. The study describes a complex interplay between three modes of affectivity: suspense, paranoia, and melancholy. All three, each in their own way, implicate spectators in the deep-seated contradictions of their own feelings and their ways of being in the world: their relations to history, to society, and to cultural fantasy. On this basis, Affect Poetics of the New Hollywood projects an original conception of film history: as an affective history which can be re-written up to the present day.

The monograph explores the semantic and morphosyntactic representation of affectedness, i.e., the property of an event participant to undergo change, in transitive predicates. Specifically, it provides a first in-depth investigation of how affectedness, the notion of path, and resultativity determine Differential Object Marking (DOM) in Turkish. It argues that affectedness is the crucial event semantic characteristic enhancing DOM, and articulates a theoretical link between affectedness in the lexical syntactic structure and morphological accusative marking. The study addresses affectedness from a cross-linguistic perspective and makes a remarkable contribution to our understanding and modelling of the syntax-semantics interface.

Drawing on affect theory and research on academic capitalism, this book examines the contemporary crisis of universities. Moving through 11 international and comparative case studies, it explores diverse features of contemporary academic life, from the coloniality of academic capitalism to performance management and the experience of being performance-managed.

Affect has emerged as a major analytical lens of social research. However, it is rarely applied to universities and their marketisation. Offering a unique exploration of the contemporary role of affect in academic labour and the organisation of scholarship, this book considers modes of subjectivation, professional and personal relationships and organisational structures and their affective charges.

Chapter 9 is available Open Access via OAPEN under CC-BY-NC-ND licence.

This volume provides a novel platform to re-evaluate the notion of open-ended intimacies through the lens of affect theories. Contributors address the embodied, affective and psychic, sensorial and embodied aspects of their ongoing intimate entanglements across various timely phenomena. This fascinating collection asks how the study of affect enables us to rethink intimacies, what affect theories can do to the prevailing notion of intimacy and how they renew and enrich theories of intimacy in a manner which also considers its normative and violent forms.

This collection brings together a selection of original chapters which invite readers to rethink such concepts as care, closeness and connectivity through the notion of affective intimacies. Based on rigorous research, it offers novel insights on a variety of themes from austerity culture to online discussions on regretting motherhood, from anti-ableist notions of health to teletherapies in the era of COVID-19, and from queer intimacies to critiques of empathy.

Lively and thought-provoking, this collection contributes to timely topics across the social sciences, representing multiple disciplines from gender studies, sociology and cultural studies to anthropology and queer studies. By so doing, it advances the value of interdisciplinary perspectives and creative methodologies for understanding affective intimacies.

An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

Affective meditation on the Passion was one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.

Affective Meditation and the Invention of Medieval Compassion advances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp's Libellus to the Meditationes Vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love's Mirror and a wide range of Passion lyrics and laments, Affective Meditation and the Invention of Medieval Compassion illuminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.

Affective meditation on the Passion was one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.

Affective Meditation and the Invention of Medieval Compassion advances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp's Libellus to the Meditationes Vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love's Mirror and a wide range of Passion lyrics and laments, Affective Meditation and the Invention of Medieval Compassion illuminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.

Inequality is an ever-present danger in our society. This important book addresses the crucial nexus between the lived experience of inequality and how it shapes political responses.

With contributors from the UK and Continental Europe, the book compiles case studies with theoretically informed discussions of the relationship between affective polarisation, social inequality and the fall-out from Brexit and COVID-19. Using a broad concept of social inequality, the book incorporates aspects of economy and society, language, and emotion culture, as well as interviews and film in historical and transnational perspectives.

The contributors offer a powerful examination of the ways in which the politics of the UK and the lived experiences of its residents have been reframed in the first decades of the 21st century.

In recent years, political and social theory has been transformed by the heterogeneous approaches to feeling and emotion jointly referred to as ‘affect theory’. These range from psychological and social-constructivist approaches to emotion to feminist and post-human perspectives. Covering a wide spectrum of topics and ethnographic contexts—from engineering in the Andes to household rituals in rural China, from South African land restitution to migrant living in Moscow, and from elections in El Salvador to online and offline surveillance among political refugees from Uzbekistan and Eritrea—the chapters in this volume interrogate this ‘affective turn’ through the lens of fine-grained ethnographies of the state. The volume enhances the anthropological understanding of the various ways through which the state comes to be experienced as a visceral presence in social life.

In recent years, political and social theory has been transformed by the heterogeneous approaches to feeling and emotion jointly referred to as ‘affect theory’. These range from psychological and social-constructivist approaches to emotion to feminist and post-human perspectives. Covering a wide spectrum of topics and ethnographic contexts—from engineering in the Andes to household rituals in rural China, from South African land restitution to migrant living in Moscow, and from elections in El Salvador to online and offline surveillance among political refugees from Uzbekistan and Eritrea—the chapters in this volume interrogate this ‘affective turn’ through the lens of fine-grained ethnographies of the state. The volume enhances the anthropological understanding of the various ways through which the state comes to be experienced as a visceral presence in social life.

Affectivity is essential in language learning and new ways of studying it must be considered. In this volume, the authors bring together two particularly relevant aspects of affectivity that are rarely related: the prosody of speech as the physical manifestation of affectivity, and affectivity involved in the learning process, with a strong component of (inter)culture and identity. In sum, overly narrow perspectives on affective language can only be avoided if we continue to bring together scientific and didactic studies of affectivity as a broad and diverse whole.

Mit dem Aufstieg positivistischen Denkens im 19. Jahrhundert rückt das Verhältnis von naturwissenschaftlichen und ästhetischen Erkenntnisformen verstärkt ins Zentrum künstlerischer und wissenstheoretischer Reflexion. Gustave Flauberts Madame Bovary, Jules und Edmond de Goncourts Germinie Lacerteux und Émile Zolas Thérèse Raquin stehen beispielhaft für die Auseinandersetzung der französischen Literatur mit dieser epistemologischen Umbruchssituation. Programmatischer Wissenschaftsanspruch und narrativer Aufruf zu emotionaler Teilnahme wirken hier funktional zusammen: Unterschiedliche Formen des ‚wissenschaftlichen‘ Schreibens setzen Lesende in affektive Relationen zu den fiktionalen Figuren und Gegebenheiten. Damit vermitteln die Romane eine jeweils spezifische Lektüreerfahrung, die als ästhetische Erkenntnisform konkurrierende Wissenspraktiken herausfordert und affektive Leerstellen moderner Welt- und Selbstverhältnisse zu kompensieren verspricht. In Verschränkung kognitionswissenschaftlicher und phänomenologischer Ansätze entwickelt die Studie ein wirkungsästhetisch fundiertes Modell zur Beschreibung der affektiven Wirkungspotenziale fiktionaler Erzählwelten. Mit der Frage nach der emotionalen Perspektivierung von Wirklichkeit rücken die textnahen Romananalysen einen bislang vernachlässigten Aspekt realistischer Literatur in den Fokus. Gleichzeitig leistet die Studie mit ihrem umfangreichen Theorieteil einen innovativen Beitrag zur interdisziplinären Emotions- und Affektforschung, zur Erzähltheorie wie auch zum Themenfeld Wissen und Ästhetik, der für ein Publikum weit über die romanistische Fachdebatte hinaus von Relevanz ist.

Die Aufsatzsammlung geht der Frage nach der Bedeutung der Affektivität für die Ethik nach, indem sie zwei Traditionen füreinander fruchtbar macht, die sich bisher gegeneinander abgegrenzt, ja nahezu ignoriert haben: die Kant-Forschung und die Tradition der Phänomenologie. Aus zwei Gründen ist es an der Zeit, diese verfestigte Frontstellung aufzubrechen. Zum einen schenkt die Kant-Forschung im Rahmen eines anwachsenden Interesses an der Tugendlehre dem in phänomenologischen Ansätzen zur Ethik seit jeher zentralen Gefühl immer größere Aufmerksamkeit. Zum anderen beschränkt sich die phänomenologische Ethik längst nicht mehr auf die von Kantianern traditionell kritisch gesehene materiale Wertethik. Der Band möchte mit Blick auf diese aktuelle Forschungslage in den beiden Feldern eine Verständigung der beiden Forschungsbereiche eröffnen und dadurch zugleich die systematische Frage nach der Affektivität in der Ethik voranbringen.
Mit Beiträgen von Manfred Baum, Steven Crowell, Andrea Esser, Heiner Klemme, Bernd Ludwig, Dieter Schönecker, Sonja Rinofner-Kreidl, László Tengelyi und anderen.

Woran bindet sich die Emotion des Zuschauers im Kino? Und wie lässt sich eine Geschichte dieser Bindung schreiben? Mit Blick auf diese Fragen konzipiert die Arbeit von Hauke Lehmann die filmhistorische Periode des New Hollywood als einen Moment der Krise, der sich weder auf ökonomisch bedingte Anpassungsprozesse noch auf eine Ansammlung von Meisterwerken reduzieren lässt. Vielmehr gelangt in der detaillierten Analyse repräsentativer Filme die Kraft filmischer Bilder in den Blick, ihre Zuschauer zu affizieren: sie mit dem Neuen zu konfrontieren. Die Filme des New Hollywood vermessen das Feld der alten poetischen Einteilungen – wie es sich im klassischen Genresystem manifestiert - radikal neu und verändern dadurch die Art und Weise, wie die Zuschauer im Kino emotional adressiert werden. Die Arbeit beschreibt ein komplexes Zusammenspiel dreier filmischer Modi von Affektivität - Suspense, Paranoia und Melancholie - welche die Zuschauer auf je besondere Weise in die Widersprüche ihrer emotionalen Weltbezüge verwickeln. Auf dieser theoretischen Grundlage entwirft die Arbeit das Projekt einer Neukonzeption von Filmgeschichte: als eine Geschichte des Fühlens, die sich bis in die Gegenwart neu schreiben lässt.

This title from the De Gruyter Book Archive has been digitized in order to make it available for academic research. It was originally published under National Socialism and has to be viewed in this historical context. Learn more here.

Affine algebraic geometry has progressed remarkably in the last half a century, and its central topics are affine spaces and affine space fibrations. This authoritative book is aimed at graduate students and researchers alike, and studies the geometry and topology of morphisms of algebraic varieties whose general fibers are isomorphic to the affine space while describing structures of algebraic varieties with such affine space fibrations.

How online affinity networks expand learning and opportunity for young people



Boyband One Direction fanfiction writers, gamers who solve math problems together, Harry Potter fans who knit for a cause. Across subcultures and geographies, young fans have found each other and formed community online, learning from one another along the way. From these and other in-depth case studies of online affinity networks, Affinity Online considers how young people have found new opportunities for expanded learning in the digital age. These cases reveal the shared characteristics and unique cultures and practices of different online affinity networks, and how they support “connected learning”—learning that brings together youth interests, social activity, and accomplishment in civic, academic, and career relevant arenas. Although involvement in online communities is an established fixture of growing up in the networked age, participation in these spaces show how young people are actively taking up new media for their own engaged learning and social development.



While providing a wealth of positive examples for how the online world provides new opportunities for learning, the book also examines the ways in which these communities still reproduce inequalities based on gender, race, and socioeconomic status. The book concludes with a set of concrete suggestions for how the positive learning opportunities offered by online communities could be made available to more young people, at school and at home. Affinity Online explores how online practices and networks bridge the divide between in-school and out-of-school learning, finding that online affinity networks are creating new spaces of opportunity for realizing the ideals of connected learning.

How online affinity networks expand learning and opportunity for young people



Boyband One Direction fanfiction writers, gamers who solve math problems together, Harry Potter fans who knit for a cause. Across subcultures and geographies, young fans have found each other and formed community online, learning from one another along the way. From these and other in-depth case studies of online affinity networks, Affinity Online considers how young people have found new opportunities for expanded learning in the digital age. These cases reveal the shared characteristics and unique cultures and practices of different online affinity networks, and how they support “connected learning”—learning that brings together youth interests, social activity, and accomplishment in civic, academic, and career relevant arenas. Although involvement in online communities is an established fixture of growing up in the networked age, participation in these spaces show how young people are actively taking up new media for their own engaged learning and social development.



While providing a wealth of positive examples for how the online world provides new opportunities for learning, the book also examines the ways in which these communities still reproduce inequalities based on gender, race, and socioeconomic status. The book concludes with a set of concrete suggestions for how the positive learning opportunities offered by online communities could be made available to more young people, at school and at home. Affinity Online explores how online practices and networks bridge the divide between in-school and out-of-school learning, finding that online affinity networks are creating new spaces of opportunity for realizing the ideals of connected learning.

How online affinity networks expand learning and opportunity for young people



Boyband One Direction fanfiction writers, gamers who solve math problems together, Harry Potter fans who knit for a cause. Across subcultures and geographies, young fans have found each other and formed community online, learning from one another along the way. From these and other in-depth case studies of online affinity networks, Affinity Online considers how young people have found new opportunities for expanded learning in the digital age. These cases reveal the shared characteristics and unique cultures and practices of different online affinity networks, and how they support “connected learning”—learning that brings together youth interests, social activity, and accomplishment in civic, academic, and career relevant arenas. Although involvement in online communities is an established fixture of growing up in the networked age, participation in these spaces show how young people are actively taking up new media for their own engaged learning and social development.



While providing a wealth of positive examples for how the online world provides new opportunities for learning, the book also examines the ways in which these communities still reproduce inequalities based on gender, race, and socioeconomic status. The book concludes with a set of concrete suggestions for how the positive learning opportunities offered by online communities could be made available to more young people, at school and at home. Affinity Online explores how online practices and networks bridge the divide between in-school and out-of-school learning, finding that online affinity networks are creating new spaces of opportunity for realizing the ideals of connected learning.

How online affinity networks expand learning and opportunity for young people



Boyband One Direction fanfiction writers, gamers who solve math problems together, Harry Potter fans who knit for a cause. Across subcultures and geographies, young fans have found each other and formed community online, learning from one another along the way. From these and other in-depth case studies of online affinity networks, Affinity Online considers how young people have found new opportunities for expanded learning in the digital age. These cases reveal the shared characteristics and unique cultures and practices of different online affinity networks, and how they support “connected learning”—learning that brings together youth interests, social activity, and accomplishment in civic, academic, and career relevant arenas. Although involvement in online communities is an established fixture of growing up in the networked age, participation in these spaces show how young people are actively taking up new media for their own engaged learning and social development.



While providing a wealth of positive examples for how the online world provides new opportunities for learning, the book also examines the ways in which these communities still reproduce inequalities based on gender, race, and socioeconomic status. The book concludes with a set of concrete suggestions for how the positive learning opportunities offered by online communities could be made available to more young people, at school and at home. Affinity Online explores how online practices and networks bridge the divide between in-school and out-of-school learning, finding that online affinity networks are creating new spaces of opportunity for realizing the ideals of connected learning.

Discover Your Purpose In Life

“I love this little journal. the prompts are fantastic. easy to use, fun, and thought-provoking. not intimidating. gentle, yet effective. excellent!” —Amazon review

Embark on a transformative journey of self-discovery and personal growth with Affirm Your Life, a guided journal packed with thought-provoking writing prompts, confidence-boosting affirmations, and inspirational quotes.

Discover your true purpose and reignite your self-worth. This guided journal is filled with inspirational writing prompts and guidance inspired by the timeless wisdom of Stephen R. Covey’s international bestselling book, The 7 Habits of Highly Effective People. Align with what truly matters and find inspiration, purpose, and fulfillment. Embrace the power of affirmations, unleash your potential, and embark on a transformative journey of self-discovery and personal growth. A wonderful gift for men or gift for women.

Are you ready to make a positive choice in your life? Experience the transformative power of this journal and embark on a journey towards a more fulfilling and meaningful life. With confidence-boosting affirmations, motivational writing prompts, and inspiring quotes, this journal guides you on a path of self-reflection, empowering you to refresh your goals, rediscover your passions, and create a life filled with gratitude, purpose, and peace.

Inside you’ll find:

• Thought-provoking writing prompts to delve deep and discover your true purpose
• Timeless wisdom from The 7 Habits of Highly Effective People to guide your journey of personal growth
• Confidence-boosting affirmations to strengthen your self-worth and motivation
• Inspirational quotes to strengthen your self-worth and keep you motivated

If you enjoyed books like Self-Love Workbook for Women, Good Days Start With Gratitude, or Prayer Journal for Women, you'll love Affirm Your Life.

Dass sich moderne Gesellschaften in ihrem Denken und Handeln seit dem 18. Jahrhundert zunehmend auf die Zukunft ausrichten, stellt nicht das Ergebnis eines natürlichen Prozesses dar, sondern ist auf eine komplexe Diskursformation zurückzuführen: das moderne Zeitregime. Seinen deutlichsten Ausdruck findet diese Zeit- und Geschichtskonzeption in der Fortschrittsidee, die sich geradezu als Mythos der Moderne bezeichnen lässt. Die Studie zeichnet die zwischen Affirmation und Kritik schwankende Haltung Friedrich Schillers, Heinrich Heines und Gottfried Kellers gegenüber diesem Schlüsselkonzept der Moderne nach. Artikulieren die drei Autoren in ihren frühen Schriften noch die Hoffnung auf die "Emanzipation der ganzen Welt" (Heine), so nehmen sie in ihren Spätwerken auch die Kosten und Opfer des Fortschritts in den Blick wie insbesondere die Naturzerstörung und die Unterwerfung der außereuropäischen Völker im Kolonialismus. Die Studie verbindet nicht nur literarische, geschichtsphilosophische, soziologische und postkoloniale Perspektiven, sondern wirft zugleich ein Schlaglicht auf die multiplen Krisen unserer Gegenwart, in der die Fortschrittsidee längst ihre Anziehungskraft verloren hat, ohne dass ein Ersatz erkennbar wäre.

A Guided Journal for Self-Worth and Self-Acceptance

#1 New Release in Guided Journal

A motivational journal with prompts, positive affirmations, inspirational quotes, and age-old wisdom, Affirmations for Self-Love is an invitation to listen to your inner self and be inspired.

An oasis of peace, serenity, and love. The world is a noisy, distracting place. Affirmations for Self-Love is full of uplifting words and energy from the world’s wisdom traditions that support you as you find moments of calm and respond to heart-opening journal prompts.

A space for self-expression and deep thinking. Let the uplifting, positive affirmations in this guided journal lead you on an inspirational journey towards self-acceptance and self-worth. Express yourself deeply and think and feel in ways that increase your confidence as you interact with this motivational journal.

Discover words of encouragement and strength from two prominent experts in the self-love journal writing field, nationally-renowned psychologist Eric Maisel and preeminent journaling expert Lynda Monk.

Inside this self-love affirmations journal with prompts, you’ll find: