411
edits
011: Difference between revisions
Jump to navigation
Jump to search
no edit summary
No edit summary |
No edit summary |
||
| (4 intermediate revisions by 3 users not shown) | |||
| Line 1: | Line 1: | ||
{{Entry | {{Entry | ||
|Entry number=011 | |Entry number=011 | ||
|People=Sianne Ngai | |People=Sianne Ngai | ||
|Entity=Individual | |Entity=Individual | ||
|Title=Our aesthetic categories: Zany, Cute, Interesting | |Title=Our aesthetic categories: Zany, Cute, Interesting | ||
| | |Pdf=https://www.digital-media.teaching-documents.org/wp-content/uploads/2018/08/our-aesthetic-categories-zany-cute-interesting-partial-scan-only.pdf | ||
|Type=Essay | |Type=Essay | ||
|Discipline=philosophy | |Discipline=philosophy | ||
|Subject=Aesthetics | |Subject=Aesthetics | ||
|Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime. | |Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime. | ||
| Line 18: | Line 13: | ||
Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions. | Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions. | ||
| | |Year=2012 | ||
|Has URL=Yes | |||
|Has PDF=Yes | |||
}} | }} | ||