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.