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The notion of disinterestedness is often conceived of as antiquated
or ideological. In spite of this, Hilgers argues that one cannot
reject it if one wishes to understand the nature of art. He claims
that an artwork typically asks a person to adopt a disinterested
attitude towards what it shows, and that the effect of such an
adoption is that it makes the person temporarily lose the sense of
herself, while enabling her to gain a sense of the other. Due to an
artwork's particular wealth, multiperspectivity, and dialecticity,
the engagement with it cannot culminate in the construction of
world-views, but must initiate a process of self-critical thinking,
which is a precondition of real self-determination. Ultimately,
then, the aesthetic experience of art consists of a dynamic process
of losing the sense of oneself, while gaining a sense of the other,
and of achieving selfhood. In his book, Hilgers spells out the
nature of this process by means of rethinking Kant's and
Schopenhauer's aesthetic theories in light of more recent
developments in philosophy-specifically in hermeneutics, critical
theory, and analytic philosophy-and within the arts
themselves-specifically within film and performance art.
The notion of disinterestedness is often conceived of as antiquated
or ideological. In spite of this, Hilgers argues that one cannot
reject it if one wishes to understand the nature of art. He claims
that an artwork typically asks a person to adopt a disinterested
attitude towards what it shows, and that the effect of such an
adoption is that it makes the person temporarily lose the sense of
herself, while enabling her to gain a sense of the other. Due to an
artwork's particular wealth, multiperspectivity, and dialecticity,
the engagement with it cannot culminate in the construction of
world-views, but must initiate a process of self-critical thinking,
which is a precondition of real self-determination. Ultimately,
then, the aesthetic experience of art consists of a dynamic process
of losing the sense of oneself, while gaining a sense of the other,
and of achieving selfhood. In his book, Hilgers spells out the
nature of this process by means of rethinking Kant's and
Schopenhauer's aesthetic theories in light of more recent
developments in philosophy-specifically in hermeneutics, critical
theory, and analytic philosophy-and within the arts
themselves-specifically within film and performance art.
The interplay of hadron properties and their modification in an
ambient nuclear medium on the one hand and spontaneous chiral
symmetry breaking and its restoration on the other hand is
investigated. QCD sum rules for various heavy-light pseudoscalar
mesons embedded in cold nuclear matter are evaluated, the impact of
order parameters is investigated and Weinberg type sum rules are
derived. The consequences of a chirally symmetric scenario for the
rho meson are investigated and the complementarity of mass shift
and broadening is discussed. Additionally, the analytic structure
of quark propagators in the complex plane is investigated
numerically within Dyson-Schwinger equations. The applicability of
Bethe-Salpter equations for heavy-light quark-antiquark bound
states in the scalar and pseudo-scalar channels by variation of the
momentum partitioning parameter is presented. The solutions of the
Dyson-Schwinger equation in the Wigner-Weyl phase are used to
investigate the hadron spectrum with explicit but without dynamical
chiral symmetry breaking. An exhaustive introduction to chiral
transformations within classical and quantum field theory and
current-current correlators is given.
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