Aesthetic Apprehensions

In thirteen essays from different aesthetic traditions, Aesthetic Apprehensions: Silences and Absences in False Familiarities problematizes our habituated customs of seeing and reading the familiar to focus on that which cannot easily be comprehended but may be sensed through encounters with the ruptures and gaps that quietly beckon our attention.

Introduction: Apprehending Aesthetic Apprehensions, Jena Habegger-Conti and Lene M Johannessen
Chapter 1: Drawing Closer: Liminal Medievalism in the Post-punk Gothic, Aidan Conti
Chapter 2: A Chair is not a House: Sepulchral Intimacies in Sharp Objects, Janne Stigen Drangsholt
Chapter 3: "The Immortal Conception, the Perennial Theme": Reading the Modern Body in Willa Cather's "Coming, Aphrodite!", Ingrid Galtung
Chapter 4: Not Reading the Signs in Nick Drnaso's Sabrina, Jena Habegger-Conti
Chapter 5: Apprehensive Figurations: Monuments in "Site-Specific Performances", Lene M. Johannessen
Chapter 6: Apprehending the Past in the National Parks: False Familiarities, Aesthetic, Imaginaries, and Indigenous Erasures, Jennifer Ladino
Chapter 7: The Garrulous Eye: Allegorization of Rape in Djuna Barnes' "Ryder", Helle Hä konsen Lapeniene
Chapter 8: Metonymy and the "Art of Reading the World Slowly", Genevieve Liveley
Chapter 9: Aesthetic Apprehensions, Hauntology and Just Literature, Ruben Moi
Chapter 10: Close Reading and Critical Immersion, Timothy Saunders
Chapter 11: Indians, Aliens, and Superheroes: Countering Silence and the Invisual in David Mack's Echo: Vision Quest, Sara L. Spurgeon
Chapter 12: Listening to Ourselves: The Musician as Listener in Rafi Zabor's The Bear
Comes Home, Zoltan Varga
Chapter 13. Harlem to World and World to Harlem: Revisiting the Transnational Negotiations of Harlem Renaissance Narratives, Nahum Welang