English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

In his recent book, Notions of the Aesthetic and of Aesthetics: Essays on Art, Aesthetics, and Culture,1 the former chairman of the Nordic Society of Aesthetics and Professor Emeritus of Aesthetics at the University of Uppsala, Lars-Olof Åhlberg, has put together a collection of essays discussing a variety of topics in philosophical aesthetics and cultural theory. The earliest essays go back to the early 90’s, with the last originating from 2008. Åhlberg has divided the essays under four headings: “Art and Aesthetics,” “Music, Literature, and Painting,” “Heidegger and the Essence of Art,” and “Modernity/Postmodernity and Culture.” The terrain covered is wide: from historical to contemporary topics, from constructive to critical analysis. The volume also presents a set of illustrative photos of the paintings discussed in the essays. One can fully agree with Åhlberg’s own statement about the essays: “My approach to aesthetics and the philosophy of art has not changed much over the years...” (p. 9). It is clear that all the essays are argumentative analyses, at least to a certain extent, aiming at conceptual clarity. In this sense it is safe to say that Åhlberg works within the Anglo-American “analytic” tradition, though he does make references to continental writers as well. The first essay, “The Nature and Limits of Analytic Aesthetics” discusses different conceptions of analytic aesthetics, and one of Åhlberg’s cautious conclusions is that “Whatever analytic aesthetics is, it is analysis of some kind, and the purpose of analysis is to achieve clarity” (p. 25). But unlike so many analytic aestheticians, Åhlberg himself deepens his analyses with historical references. Indeed, in the Introduction he acknowledges the importance of history: “In recent years I have become increasingly interested in the history of aesthetics and in the historicity of the fundamental

Lars-Olof Åhlberg, Notions Of The Aesthetic And Of Aesthetics: Essays On Art, Aesthetics, And Culture