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Our aesthetic categories : zany, cute, interesting

Autore: Sianne Ngai
Editore: Cambridge, Mass. : Harvard University Press, 2012.
Edizione/Formato:   book_printbook : EnglishVedi tutte le edizioni e i formati
Banca dati:WorldCat
Sommario:
"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  Per saperne di più…
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Tipo documento: Book
Tutti gli autori / Collaboratori: Sianne Ngai
ISBN: 9780674046580 0674046587 0674067185 9780674067189
Numero OCLC: 781278951
Descrizione: 333 pages : illustrations ; 25 cm
Contenuti: The cuteness of the avant-garde --
Merely interesting --
The zany science.
Responsabilità: Sianne Ngai.

Abstract:

The zany, the cute, and the interesting saturate postmodern culture, dominating the look of its art and commodities as well as our ways of speaking about the ambivalent feelings these objects often  Per saperne di più…

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Ngai argues that three aesthetic categories usually considered of minor importance are crucial to understanding contemporary culture. The categories in question, the zany, the cute, and the Per saperne di più…

 
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    schema: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. Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities. 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."--Jacket."@en ;
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