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.
具體描述
讀後感
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用戶評價
提議幾種新的美學範疇以應對“晚期資本主義”社會中的信息、商品以及錶演對審美經驗的改造。裏麵提到卡維爾的段落基本都還是奧斯丁的日常語言。
评分大傢都說the zany並不convincing,而我卻覺得好令人信服怎麼破. （最近看多瞭明星真人秀覺得zany可能有點落伍
评分大傢都說the zany並不convincing,而我卻覺得好令人信服怎麼破. （最近看多瞭明星真人秀覺得zany可能有點落伍
评分提議幾種新的美學範疇以應對“晚期資本主義”社會中的信息、商品以及錶演對審美經驗的改造。裏麵提到卡維爾的段落基本都還是奧斯丁的日常語言。
评分超好玩！！！
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