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{{Entry | {{Entry | ||
|Entry number=011 | |Entry number=011 | ||
|Year=2012 | |Year=2012 | ||
|People=Sianne Ngai | |People=Sianne Ngai | ||
| Line 9: | Line 7: | ||
|Link=https://www.are.na/block/3973763 | |Link=https://www.are.na/block/3973763 | ||
|Type=Essay | |Type=Essay | ||
|Discipline=philosophy | |Discipline=philosophy | ||
|Subject=Aesthetics, De/colonialism | |Subject=Aesthetics, De/colonialism | ||
| Line 19: | Line 15: | ||
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. | ||
|External reference=https://www.hup.harvard.edu/books/9780674088122 | |External reference=https://www.hup.harvard.edu/books/9780674088122 | ||
|Image=Test-image-2-test-test.jpg.jpg | |||
|CaptionImage=Bisque Kewpie doll, manufactured by the German firm J.D. Kestner, 1913. Courtesy Victoria and Albert Museum. | |||
|Image2=Test-image-test-test.jpg | |||
|CaptionImage2=Zany, Cute, Interesting: Sianne Ngai on Our Aesthetic Categories | |||
|Has URL=Yes | |||
|Has PDF=Yes | |||
}} | }} | ||