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Camilla Flodin

Camilla Flodin

PhD

Researcher

The research project Reassessing the Rise of Aesthetics: Aesthetic Heteronomy from Shaftesbury to Schelling (RJ)

+46 8 608 51 47 +4686085147

Culture and Education

+46 73 066 34 22 +46730663422

PA242

My research focuses on Theodor W. Adorno’s aesthetics, in particular his comprehension of the relationship between art, nature and animals. Other research interests include early German romanticism and idealism, especially Hölderlin and Schelling. I have been Visiting Scholar at the Department of Philosophy, Columbia University (2010) and at the Faculty of English, University of Cambridge (2014).

I have also been researcher (funded by the Swedish Research Council) and teacher at the Department of Philosophy and at the Centre for Gender Research, Uppsala University (2014–2017).

At Södertörn University, I am participating in the project Reassessing the Rise of Aesthetics: Aesthetic Heteronomy from Shaftesbury to Schelling (2017–2020), funded by Riksbankens Jubileumsfond (The Swedish Foundation for Humanities and Social Sciences). I am co-editor of the forthcoming anthology Beyond Autonomy in Eighteenth-Century British and German Aesthetics (Routledge, 2020). I am also a member of the "Ratatǫskr Research Group for Literary Animal Studies".

Books

  • Beyond Autonomy in Eighteenth-Century British and German Aesthetics (forthcoming, New York: Routledge, 2020), Routledge Studies in Eighteenth-Century Philosophy (co-editors: Karl Axelsson and Mattias Pirholt)
  • Att uttrycka det undanträngda: Theodor W. Adorno om konst, natur och sanning [Expressing the repressed: Theodor W. Adorno on art, nature and truth], diss. Uppsala University (Gothenburg: Glänta Produktion, 2009) – written in Swedish with an English summary

Articles, Book Chapters, and Reviews

  • "Art and Animals in Adorno", in Understanding Adorno, Understanding Modernism, ed. Robin Truth Goodman, in the series Understanding Philosophy, Understanding Modernism (forthcoming, New York: Bloomsbury Academic, 2020)
  • "Introduction to Special Issue: Adorno and the Anthropocene" (co-written with Sven Anders Johansson), Adorno Studies, Vol. 3, No. 1 (2019): i–iv, http://adornostudies.org/ojs/index.php/as/article/view/30external link
  • "Art and the Possibility of Liberated Nature", Adorno Studies, special issue on Adorno and the Anthropocene, vol. 3, no. 1 (2019): 79–93, http://adornostudies.org/ojs/index.php/as/article/view/36external link, opens in new window (peer-reviewed)
  • “Adorno and Schelling on the Art–Nature Relation”, British Journal for the History of Philosophy, vol. 26, no. 1, 2018, 176–196, https://www.tandfonline.com/doi/full/10.1080/09608788.2017.1349648external link (peer-reviewed)
  • "'The eloquence of something that has no language': Adorno on Hölderlin's Late Poetry", Adorno Studies, vol. 1, no. 2, 2018, 1–27 http://adornostudies.org/ojs/index.php/as/article/view/21external link (peer-reviewed)
  • “Contemplation or Manipulation? Aesthetic Perspectives on Nature and Animals from Shaftesbury to Bio-Art” (co-written with Karl Axelsson), in International Yearbook for Aesthetics 2016, 29–41, ed. Zoltán Somhegyi, http://www.iaaesthetics.org/item/191-volume-19-zoltan-somhegyi-ed-retracing-the-past-historical-continuity-in-aesthetics-from-a-global-perspective external link(peer-reviewed)
  • "In the Eyes of the Other"/"I andras ögon", afterword to Swedish artist Hendrik Zeitler's photography book The Chosen Ones (Stockholm: Journal, 2016)
  • Review of Geoff Boucher, Adorno Reframed (London & New York: I. B. Tauris, 2013), Estetika: The Central European Journal of Aesthetics, No 1, 2014: 146–148
  • Review of Deborah Cook, Adorno on Nature (Durham: Acumen, 2011), Florida Philosophical Review: The Journal of the Florida Philosophical Association, University of Central Florida, No 1, 2013: 60–63
  • "Naturens röst"/"The Voice of Nature" (essay on Swedish artist Annika Thörn Legzdins's photography), in Annika Thörn Legzdins, Translucence (Malmö: Arena, 2012)
  • "Of Mice and Men: Adorno on Art and the Suffering of Animals", Estetika: The Central European Journal of Aesthetics, no 2, 2011: 139–156 (peer-reviewed)
  • "The Wor(l)d of the Animal: Adorno on Art’s Expression of Suffering", Journal of Aesthetics & Culture, No 3, 2011, 12 pages, DOI: 10.3402/jac.v3i0.7987 external link(peer-reviewed)
  • "Naturen som 'alls icke omyndig' vs. 'Det finns ingen natur längre.'" [Nature as "nicht gar unmündig" vs. "There's no more nature"], in Linköping Electronic Conference Proceedings No 42 (Linköping: LiU E-Press [Linköping University Electronic Press], 2010), 105–113, http://www.ep.liu.se/ecp/042/009/index.htmlexternal link
  • "Koltrastens klagan" [The lament of the blackbird] (on Adorno, music and nature), Nutida Musik, No 4, 2010/11: 26–27
  • "'Jag är en noshörning': Adorno om konsten och människans djurlikhet" ["I am a rhinoceros": Adorno on art and man's likeness to animals], Hjärnstorm, No 102–103, 2010: 3–8
  • "Art and threatening, threatened nature", Eurozine (translation of "Konsten och den hota(n)de naturen", Glänta, no 4, 2009).
  • "Konsten och den hota(n)de naturen", Glänta, no 4, 2009: 86–91

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