SMF - Just Installed!
Started by droqen, November 06, 2022, 02:39:49 AM
Quote from: p270[..] the sublime cannot [..] account for the affective response elicited by enormous, agglutinative works like Atlas or Americans, since here the initial experience of being aesthetically overwhelmed involves not terror or pain (eventually superseded by tranquility), but something much closer to an ordinary fatigue—and one that cannot be neutralized, like the sublime's terror, by a competing affect. [..] the reader's or observer's faculties become strained to their limits in the effort to comprehend the work as a whole, but the revelation of this failure is conspicuously less dramatic—and does not, in the end, confirm the self's sense of superiority over the overwhelming or intimidating object.
Quote from: p271[..] reveals the limits of our ability to comprehend a vastly extended form as a totality
Quote from: p273[..] drags us downward into the realm of words rather than transporting us upward toward an unrepresentable divine.
Quote from: p268The precondition for experiencing the sublime, and the dynamical sublime in particular, is that the observer feel safely removed from the object that inspires this emotion. [..] while both Kantian and popularized versions of the sublime might be conscripted to account for the astonishment, awe, or "respect" that a massive, even stupefying text like Americans solicits from its reader, no theory of sublimity seems adequately equipped to account for its concomitantly solicited effect of boredom. [..] this boredomi s absolutely central to Stein's quasi-scientific experiment with sentences and paragraphs in Americans [..] Yet the passivity, duration, and ignoble status of boredom would seem to contradict nearly all aspects of the sublime[..]
Quote from: p6[..] this book's turn to ugly feelings to reanimate aesthetics is simply the flip side of its privileging of the aesthetic domain as the ideal site to examine the politically ambiguous work of negative emotions.
Quote from: p23,24[..] what Genette calls "aesthetic predicates," affective-aesthetic values like "precious," "stilted," "monotonous," or "imperious," created from, or based upon, this feeling of pleasure or displeasure that accompanies our initial perception of the aesthetic object (The Aesthetic Relation,90). Genette in fact describes these objectifying predicates, which bear a close resemblance to what I. A. Richards called "aesthetic or 'projectile' adjectives," as descriptive terms that "sneak in" evaluations of the object based on feelings about the object. There is thus a sense in which the "aesthetic relation," which for Genette is more or less synonymous with "objectification," can be understood as an oblique effort to justify the presence of feeling in every aesthetic encounter.
Quote from: p28a literary or cultural artifact's feeling tone: its global or organizing affect, its general disposition or orientation toward its audience and the world. [...] the formal aspect of a literary work that makes it possible for critics to describe a text as, say, "euphoric" or "melancholic," [...] the category that makes these affective values meaningful with regard to how one understands the text as a totality within an equally holistic matrix of social relations.
Quote from: p36While Kant's sublime involves a confrontation with the natural and infinite, the unusual synthesis of excitation and fatigue i call "stuplimity" is a response to encounters with vast but bounded artificial systems, resulting in repetitive and often mechanical acts of enumeration, permutation and combination, and taxonomic classification.
Quote from: p381. toneHow does one go about creating a "fake" feeling? And to what uses might an artfully created feeling be put?