This book visits vulnerability in contemporary British fiction, considering vulnerability in its relation to poetics, politics, ethics, and trauma. Vulnerability and risk have become central issues in contemporary culture, and artistic productions have increasingly made it their responsibility to evoke various types of vulnerabilities, from individual fragilities to economic and political forms of precariousness and dispossession. Informed by trauma studies and the ethics of literature, this book addresses such issues by focusing on the literary evocations of vulnerability and analyzing various aspects of vulnerable form as represented and performed in British narratives, from contemporary classics by Peter Ackroyd, Pat Barker, Anne Enright, Ian McEwan, and Jeanette Winterson, to less canonical texts by Nina Allan, Jon McGregor, and N. Royle. Chapters on romance, elegy, the ghost story, and the state-of-the-nation novel draw on a variety of theoretical approaches from the fields of trauma studies, affect theory, the ethics of alterity, the ethics of care, and the ethics of vulnerability, among others. Showcasing how the contemporary novel is the privileged site of the expression and performance of vulnerability and vulnerable form, the volume broaches a poetics of vulnerability based on categories such as testimony, loss, unknowing, temporal disarray, and performance. On top of providing a book-length evocation of contemporary fictions of vulnerability and vulnerable form, this volume contributes significantly to considerations of the importance of Trauma Studies to Contemporary Literature.

"This is a Ph.D. dissertation. Arguing against the view that postmodernism is marked by ""the waning of affect,"" this book investigates the fate of sentimentality in postmodernist fiction. The investigation focuses on the novels of the British author, Graham Swift, tracing in them the emergence of a blending of representations of sentimentality with a postmodernist aesthetics and a postmodern ethico-spiritual imagination - a blending resulting in what is designated by the shorthand ""the sentimentum."" The expression of the sentimentum is further shown to rely on Swift's move toward the fulfillment of an aesthetic of vulnerability, which neutralizes the opposition between irony and sentimentality, and which also corresponds to an ethics of vulnerability that has found its formulation in the philosophy of Emmanuel Levinas. Through close readings of Swift's novels, from The Sweet Shop Owner to Last Orders, it is shown how both the aesthetics and the ethics of vulnerability are gradually more pronounced and affirmed through each successive installment in Swift's oeuvre. Ultimately, though, the ambition of the book is to bring attention to an aesthetic and thematic configuration that may be found in a number of postmodernist novels. Hence, the study is concluded by comparative and complementary readings of novels by Julian Barnes, Penelope Lively and Jeanette Winterson that illustrate the wider relevance of the concepts of the sentimentum and of aesthetics of vulnerability."

Whereas standard approaches to risk and vulnerability presuppose a strict separation between humans and their world, this book develops an existential-phenomenological approach according to which we are always already beings-at-risk. Moreover, it is argued that in our struggle against vulnerability, we create new vulnerabilities and thereby transform ourselves as much as we transform the world. Responding to the discussion about human enhancement and information technologies, the book then shows that this dynamic-relational approach has important implications for the evaluation of new technologies and their risks. It calls for a normative anthropology of vulnerability that does not ask which objective risks are acceptable, how we can become invulnerable, or which technologies threaten human nature, but which vulnerability transformations we want. To the extent that we can steer the growth of new technologies at all, this tragic and sometimes comic project should therefore be guided by what we want to become.​

Representing Vulnerabilities in Contemporary Literature includes a collection of essays exploring the ways in which recent literary representations of vulnerability may problematize its visibilization from an ethical and aesthetic perspective. Recent technological and scientific developments have accentuated human vulnerability in many and different ways at a cross-national, and even cross-species level. Disability, technological, and ecological vulnerabilities are new foci of interest that add up to gender, precarity and trauma, among others, as forms of vulnerability in this volume. The literary visualization of these vulnerabilities might help raise social awareness of one’s own vulnerabilities as well as those of others so as to bring about global solidarity based on affinity and affect. However, the literary representation of forms of vulnerability might also deepen stigmatization phenomena and trivialize the spectacularization of vulnerability by blunting readers’ affective response towards those products that strive to hold their attention and interest in an information-saturated, global entertainment market.

Theological discourse in the West has consistently valued the word over the image. Aesthetics, which discerns the criteria and value of the beautiful and what "pleases the senses," is the discipline that prioritizes sensual intelligence over the rational; this book advocates a reconsideration of the doctrine of the incarnation through an aesthetics of vulnerability, in which the ethical optics of attention to the vulnerable other becomes the standpoint in which to ponder the significance of "God became human." Relying on such diverse thinkers as Emmanuel Levinas, Maurice Blanchot, Karl Rahner, and Masao Abe, Susie Paulik Babka explores visual art, images, and poetry as theological sources, designating what Blanchot called "a region where impossibility is no longer deprivation, but affirmation."

This volume is devoted to exploring a subject which, on the surface, might appear to be just a trending topic. In fact, it is much more than a trend. It relates to an ancient, permanent issue which directly connects with people’s life and basic needs: the recognition and protection of individuals’ dignity, in particular the inherent worthiness of the most vulnerable human beings. The content of this book is described well enough by its title: ‘Human Dignity of the Vulnerable in the Age of Rights’. Certainly, we do not claim that only the human dignity of vulnerable people should be recognized and protected. We rather argue that, since vulnerability is part of the human condition, human vulnerability is not at odds with human dignity. To put it simply, human dignity is compatible with vulnerability. A concept of human dignity which discards or denies the dignity of the vulnerable and weak is at odds with the real human condition. Even those individuals who might seem more skilled and talented are fragile, vulnerable and limited. We need to realize that human condition is not limitless. It is crucial to re-discover a sense of moderation regarding ourselves, a sense of reality concerning our own nature. Some lines of thought take the opposite view. It is sometimes argued that humankind is – or is called to be – powerful, and that the time will come when there will be no vulnerability, no fragility, no limits at all. Human beings will become like God (or what believers might think God to be). This perspective rejects human vulnerability as in intrinsic evil. Those who are frail or weak, who are not autonomous or not able to care for themselves, do not possess dignity. In this volume it is claimed that vulnerability is an inherent part of human condition, and because human dignity belongs to all individuals, laws are called to recognize and protect the rights of all of them, particularly of those who might appear to be more vulnerable and fragile.

Perhaps the most important aesthetics of the twentieth century appears here newly translated, in English that is for the first time faithful to the intricately demanding language of the original German. The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Adorno’s major work, a defense of modernism that is paradoxical in its defense of illusion. In it, Adorno takes up the problem of art in a day when “it goes without saying that nothing concerning art goes without saying.” In the course of his discussion, Adorno revisits such concepts as the sublime, the ugly, and the beautiful, demonstrating that concepts such as these are reservoirs of human experience. These experiences ultimately underlie aesthetics, for in Adorno’s formulation “art is the sedimented history of human misery.” Robert Hullot-Kentor’s translation painstakingly, yet fluently, reproduces the nuances and particularities of the original. Long awaited and significant, Aesthetic Theory is the clarifying lens through which the whole of Adorno’s work is best viewed, providing a framework within which his other major writings cohere.

"Katie Oliviero's "Vulnerability Politics: The Uses and Abuses of Precarity in Political Debate" explores the concept of politically vulnerable and unprotected groups in the 21st century. The book addresses such important issues as women's reproductive rights, immigration and marriage equality" --

In this open access book, seventeen scholars discuss how contemporary Scandinavian art and media have become important arenas to articulate and stage various forms of vulnerability in the Scandinavian welfare states. How do discourses of privilege and vulnerability coexist and interact in Scandinavia? How do the Scandinavian countries respond to vulnerability given increased migration? How is vulnerability distributed in terms of margin and centre, normality and deviance? And how can vulnerability be used to move audiences towards each other and accomplish change? We address these questions in an interdisciplinary study that brings examples from celebrated and provocative fiction and documentary films, TV-series, reality TV, art installations, design, literature, graphic art, radio podcasts and campaigns on social media.

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice.