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.
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大家都说the zany并不convincing,而我却觉得好令人信服怎么破. （最近看多了明星真人秀觉得zany可能有点落伍
评分确实是非常illuminating的一本。。不过对于late-capitalism和postmodernity定义好像不是很清晰，尤其是这些词汇本来就比较problematic
评分超好玩！！！
评分提议几种新的美学范畴以应对“晚期资本主义”社会中的信息、商品以及表演对审美经验的改造。里面提到卡维尔的段落基本都还是奥斯丁的日常语言。
评分提议几种新的美学范畴以应对“晚期资本主义”社会中的信息、商品以及表演对审美经验的改造。里面提到卡维尔的段落基本都还是奥斯丁的日常语言。
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