In this age of globalization, the question of cultural translation is central. All cultures may seem connected with one another, what is to be considered "original" and what is to be regarded as a translation may no longer seem relevant. All cultures are continuosly being transformed through an ongoing process of translation.

What is cultural translation? Are there limits to translatability? What kind of resistances to translatability way we encounter? The idea of cultural translation implies that different art forms communicate with one another. However, we must critically engage with remainders that remain resistant to translatability. How are we to understand the cultural context in which an author has developed his language and his art? To what extent can it be transposed into other contexts, and what kind of questions must we take into consideration when we attempt such a transposition?

The research project Translatability; aesthetics and the transformation of the public sphere in an era of globalization aims to link theories of cultural translation to the practice of exhibition and publishing. Gathering curators, researchers, critics, artists and writers, the question of translatability is examined from a theoretical as well as a practical point of view. The impact of geography, history and politics are among factors that determine the possibilities of cultural translation.

Translatability; aesthetics and the transformation of the public sphere in an era of globalization is a collaboration between Bonniers Konsthall, Albert Bonnier Publishers and the department of aesthetics at Södertörn University. 

This paper explores the relationship between Kant's aesthetic judgment, as formulated in the Critique of Judgment, and Jacques Rancière's aesthetic project, specifically the way in which the concept of dissensus is developed in the work of Rancière. The purpose of the paper is two-fold: first, to trace the legacy of Kant in Rancière and second, to pose the question of how Kant's judgment is politicized in Rancière's reading. This is discussed in two chapters, the first of which is a reading of Kant's critique of aesthetic judgment in light of the notion of dis-sensus; the second chapter examines the concept of dissensus in Rancière, as well as other related concepts, such as the regimes of art, and the 'image-phrase'. The second chapter also offers a comparison between Rancière‟s dissensus and the notion of 'disinterestedness' in Kant's aesthetic judgment, showing how Rancière draws out from the latter a set of political or meta-political implications. Ultimately, the paper serves to underline the essential role that Kant's aesthetic judgment plays in the development of Rancière's aesthetic project, examining how several of Rancière's most important concepts lean heavily on Kant for philosophical support. With the help of Rancière, the paper also provides an alternative way to give political significance to Kant's aesthetic judgment, partly in opposition to those political readings of the third Critique that primarily focus on sensus communis as a testimony of a consensual community. By way of rearticulating Kant's disinterested judgment, Rancière shows that this community is always preceded by a certain dissensus – a break with the dominant forms of a shared sensible community.

Harry Martinsons rymdepos Aniara (1956) är ett av 1900-talets mest uppmärksammade svenskspråkiga diktverk. Det är ganska få verk från svensk efterkrigstid som blivit föremål för så intensivt intresse i såväl svensk som utländsk litteraturvetenskaplig forskning.I den här boken diskuterar en rad framstående Martinsonforskare och Martinsonläsare diktverkets tillkomst, litterära form och idéinnehåll: de olika manuskriptversionerna av Aniara belyses, liksom bildspråk, konstnärliga verkningsmedel och estetik, ondskans problematik, teknologins roll, Aniara som inre resa samt rymdeposets reception.Medverkande författare:Sara Danius, litteraturvetenskap; Kjell Espmark, litteraturvetenskap; Bengt Landgren, litteraturvetenskap; Johan Lundberg, litteraturvetenskap; Marie Louise Ramnefalk, författare; Johan Stenström, litteraturvetenskap; Johan Wrede, svensk litteratur.

(Beskrivning från förlaget)

The author analyses the role of modern pieces of machinery whose purpose in Marcel Proust's novel cycle À la recherche du temps perdu becomes aesthetic. Railroad, phonography, telegraphy, telephony, cinematography, x-ray technology, automobiles, airplanes - all that passes forward in front of the reader's eyes, reinforcing the cycle's grand theme: The lost time'. Modernity, as Ms. Danius argues, brings about an emancipation of the senses in that the latter are no more merely an instrument of cognition but are transferred to the sphere of aesthetics.

To Hannah Arendt, the work of art is characterized as a "thought-thing." The expression, which is an elaboration of Kant, refers to the idea that art is both material and possible to de-sensualize and de-materialize. Art fills the function of sustaining cultures and providing a value of permanency. To Arendt, this function can in turn be guaranteed by the function of judgment, sensus communis, which she interprets in terms of a sense of "realness."

Freud planned to complete a series of writings on the technique of psychoanalysis, but the series was never completed. The series makes clear that some of the problems that we associate with psychoanalytic theory are in actual fact a question of technique and methods. In this regard, Freud's notion of the self as a structured and changeable is close to that of Foucault, who regards the idea of a truth of the self as the result of historical and cultural changes.