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The article reviews the book "Approach to Aesthetics: Collected Papers on Philosophical Aesthetics," by Frank Sibley.

Reviews the book 'Selected Papers in Aesthetics,' edited by Peter J. McCormick.

Reviews the book 'An Approach to Aesthetics: Collected Papers on Philosophical Aesthetics,' by Frank Sibley and edited by John Benson, Betty Redfern, and Jeremy Roxbee.

The idea of the process genre is a good one to bring together many great films and cinematic sequences that share the particular quality that the book homes in on. I The Process Genre i is clearly a labour of love, borne out of the pleasure of witnessing processes on film. A comparative discussion of the film I The Mystery of Picasso i (Cluzot, 1957), drawing on Bazin, neatly highlights the difference between the rationally structured process genre and the mystery of artistic creation. [Extracted from the article]

Reviews the book "The Sound of Paper: Starting from Scratch," by Julia Cameron.

Reviews the non-fiction book 'Approach to Aesthetics: Collected Papers on Philosophical Aesthetics,' by Frank Sibley.

The Magic of Saida by M.G. Vassanji (2012) centres on the central figure of the novel's story, Kamal. He is the son of an African mother and an Asian (read Indian) father, who grows up in Tanzania and then relocates to Canada where he becomes an established doctor. The novel tackles themes of African-Asian (read Afrasian) racial identity, belonging, and the effects of the past on the present. Kamal identifies mainly as an African when residing with his mother in Kilwa during his childhood; he is then urged to embrace an Indian identity when he is sent to live with his uncle in Dar es Salaam in his early adolescence. Decades after moving to Edmonton, Canada, Kamal decides to come back to Kilwa. This paper explores the tension and ambiguity in Kamal's identity by analyzing the way he defines himself—or is defined—in Kilwa and Dar es Salaam, and then investigating, through an eclectic psychochriticism lens, how that in turn affects him as he ages and drives him to return in seach of what it means to be both an Asian and an African in the context of East African cultural landscapes. [ABSTRACT FROM AUTHOR]

Science and the state in nineteenth century Prussia: M. Norton Wise: Aesthetics, industry & science. Wise goes into a detailed analysis of the Tree of Knowledge that figures so prominently on the certificate, an analysis that tells us how I Bildung i was conceived by members of the Berlin Physical Society. In a very detailed analysis, Wise concludes that the resources Helmholtz employed in his classical paper lay close at hand in the Society (272). [Extracted from the article]

This paper considers how Arun Kolatkar’s 1976 Commonwealth Prize winning sequence Jejuri constitutes a challenge to the interpretation of postcolonial poetry. In particular, it is concerned with examining the interpretive demands Jejuri makes of its readers, arguing that its microcosmic spatial and temporal composition requires the reader to dispense with his or her own sense of exteriority to, or distance from, the text. At the same time, Kolatkar’s use of cross-cultural and trans-historical imagery situates Jejuri within a macrocosmic, global network that implicitly compels the reader to adopt an interpretive position undetermined by national or cultural preconceptions. Jejuri is thus a sequence that prompts specialist postcolonial readers to question the set of methodological practices they work within. Moreover, the interpretive demands made of the reader confirm the ethical imperative of the act of reading more generally, requiring the non-specialist audience to also abandon preconceptions about the meaning of the sequence. This paper draws on Edward Said’s notion of worldliness in order to suggest that Kolatkar’s sequence requires a particular kind of critical response: one that is attentive to the historical and cultural specificities of the text, and yet one that is able to acknowledge the wider political implications of reading the poems. [ABSTRACT FROM PUBLISHER]