Bücher von Thorsten Botz-Bornstein

Argues that Daoism and dandyism, linked by likeminded philosophies of "carefree wandering," deconstruct the puritanism and political correctness sought by Confucianism, Victorianism, and contemporary neoliberal culture.

Argues that Daoism and dandyism, linked by likeminded philosophies of "carefree wandering," deconstruct the puritanism and political correctness sought by Confucianism, Victorianism, and contemporary neoliberal culture.

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization.

The "e;organic"e; is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, this concise and innovative study locates organicity in the work of Bla Tarr, the renowned Hungarian filmmaker and pioneer of the "e;slow cinema"e; movement. Through a wholly original analysis of the long take and other signature features of Tarr's work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.

Through empirical analysis and theoretical reflection, this book shows that the aesthetics and politics of the Islamic State is "futurist." ISIS overcomes postmodern pessimism and joins the modern, techno-oriented, and optimistic attitude propagated by Italian Futurism in the early twentieth century.

What might the "organic" mean in the context of film studies? This innovative volume locates one instance of organicity in the work of Bela Tarr, the renowned Hungarian filmmaker "slow cinema" pioneer. It analyzes Tarr's long take and other signature techniques, establishes links between the seemingly remote spheres of film and architecture.

At first sight, tattoos, nudity, and veils do not seem to have much in common except for the fact that all three have become more frequent, more visible, and more dominant in connection with aesthetic presentations of women over the past thirty years. No longer restricted to biker and sailor culture, tattoos have been sanctioned by the mainstream of liberal societies. Nudity has become more visible than ever on European beaches or on the internet. The increased use of the veil by women in Muslim and non-Muslim countries has developed in parallel with the aforementioned phenomena and is just as striking. Through the means of conceptual analysis, Veils, Nudity, and Tattoos: The New Feminine Aesthetics reveals that these three phenomena can be both private and public, humiliating and empowering, and backward and progressive. This unorthodox approach is traced by the three's similar social and psychological patterns, and by doing so, Veils, Nudity, and Tattoos hopes to sketch the image of a woman who is not only sexually emancipated and confident, but also more and more aware of her cultural heritage.

Aesthetics and Politics of Space in Russia and Japan: A Comparative Philosophical Study examines the parallels between Russian and Japanese philosophies and religions by revealing a common concept of space in Russian and Japanese aesthetics and political theories. Thorsten Botz-Bornstein shows points of convergence between the two traditions regarding the treatment of space within the realm of identity (both individual and communal), and in formulations of the relationship between regionalism, localism and globalism.

Films and Dreams considers the essential link between films and the world of dreams. To discuss dream theory in the context of film studies means moving from the original, clinical context within which dream theory was originally developed to an environment established by primarily aesthetic concerns. Botz-Bornstein deals with dreams as "e;self-sufficient"e; phenomena that are interesting not because of their contents but because of the "e;dreamtense"e; through which they deploy their being. A diverse selection of films are examined in this light: Tarkovsky's anti-realism exploring the domain of the improbable between symbolization, representation and alienation; Sokurov's subversive attacks on the modern image ideology; Arthur Schnitzler's shifting of thefamiliar to the uncanny and Kubrick's avoidance of this structural model in Eyes Wide Shut; and Wong Kar-Wai's dreamlike panorama of parodied capitalism.

At the turn of the millennium, international youth culture is dominated by mainly two types of aesthetics: the African American cool, which, propelled by Hip-Hop music, has become the world's favorite youth culture; and the Japanese aesthetics of kawaii or cute, that is distributed internationally by Japan's powerful anime industry. The USA and Japan are cultural superpowers and global trendsetters because they make use of two particular concepts that hide complex structures under their simple surfaces and are difficult to define, but continue to fascinate the world: cool and kawaii. The Cool-Kawaii: Afro-Japanese Aesthetics and New World Modernity, by Thorsten Botz-Bornstein, analyzes these attitudes and explains the intrinsic powers that are leading to a fusion of both aesthetics. Cool and kawaii are expressions set against the oppressive homogenizations that occur within official modern cultures, but they are also catalysts of modernity. Cool and kawaii do not refer us back to a pre-modern ethnic past. Just like the cool African American man has almost no relationship with traditional African ideas about masculinity, the kawaii shTjo is not the personification of the traditional Japanese ideal of the feminine, but signifies an ideological institution of women based on Japanese modernity in the Meiji period, that is, a feminine image based on westernization. At the same time, cool and kawaii do not transport us into a futuristic, impersonal world of hypermodernity based on assumptions of constant modernization. Cool and kawaii stand for another type of modernity, which is not technocratic, but rather 'Dandyist' and closely related to the search for human dignity and liberation.