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"One Must Go Forth to Evil Houses": Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking- [electronic resource]
"One Must Go Forth to Evil Houses": Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking- [electronic resource]
상세정보
- 자료유형
- 학위논문파일 국외
- 최종처리일시
- 20240214101235
- ISBN
- 9798379912529
- DDC
- 101
- 서명/저자
- One Must Go Forth to Evil Houses: Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking - [electronic resource]
- 발행사항
- [S.l.]: : University of Washington., 2023
- 발행사항
- Ann Arbor : : ProQuest Dissertations & Theses,, 2023
- 형태사항
- 1 online resource(252 p.)
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
- 주기사항
- Advisor: Bean, Jennifer.
- 학위논문주기
- Thesis (Ph.D.)--University of Washington, 2023.
- 사용제한주기
- This item must not be sold to any third party vendors.
- 초록/해제
- 요약The faculty of taste as a dialectical unity of sensual and moral pleasure (or displeasure), an idea first consolidated as an effective concept by Immanuel Kant, has been fully commodified by capitalist-consumerist culture. Algorithms track the minutest habits of our online footprints, accompanied by a vast and anarchic network of scheming profiteers sending constantly morphing sign patterns to our brains, designed to accommodate and alter the mapped trajectories of our desires. Beyond the virtual, ideas and products are sold on the basis of individual and corporate adherence to normative rules of thought and conduct. Surveillance capitalism, the recently termed phenomenon of "wokeism," and religious fundamentalism (to name a few major coordinates of the present) all participate in and respond to these realities. It is in this medial and ideational landscape that the faculty of taste operates today and in which it must work to attain an ethical orientation, individually as well as corporately, personally as well as politically. But these developments cannot be disavowed, and these processes cannot be reversed, because they are the most forceful logical conclusions of the very Kantian transcendental aesthetic that gave their initial conceptual form to reality. Now, the very concept of taste itself, falsely concretized as "my taste" (or even "our taste") by the widespread hagiography of the Self, must be undone from within, by returning to the sources of its current formations and determining the extent to which other possibilities are still salvageable from the ruins of its cultural degradation and authoritarian manipulation. And this then poses an important "why" question: Why did the Human Mind desire this atomistic interpretation of taste so intensely that it would develop it so extensively and so powerfully? (Answering this completely would mean something like revealing the actual beauty available in both capitalism and narcissism, which I am not prepared to do here.) Within the sense of "the aesthetic" conceived in German Idealism most prominently first by Kant, but significantly developed in its more properly Romantic mode by the underappreciated Friedrich Schiller, one finds that the emphasis in "the faculty of taste" does not lie on taste as much as it lies on faculty; which marks it as a function of reason, the faculty of desire bound by the moral mandate of the categorical imperative to act in accordance with duty. More recently, two modern ideas track the most contemporary developments of both "taste's commodification" and "the faculty of taste's ethical possibility." These are, respectively, Hermann Broch's conception of "kitsch" and Susan Sontag's elaborations of "the aesthetic sense." Taken together, these ideas offer a different characterization of late 20th and early 21st century cultures of expression than is available in the popular (and notoriously inarticulate) concept of postmodernism. This dissertation challenges the binary opposition of modernism and postmodernism by reapproaching some of the dominant aesthetic ideas of the 19th and 20th centuries. Sontag's understanding of "the aesthetic sense" demands a refusal of periodizations of this kind and offers a model, shared by Broch and others, for an ethical engagement with reality, directed against "kitsch" through a value-based notion of truth founded in aesthetic achievement and aesthetic knowledge. It is an argument for an approach to media studies that grounds all understandings of aesthetics within the realms of both disinterested knowledge and ethical judgment.
- 일반주제명
- Aesthetics.
- 일반주제명
- Philosophy.
- 일반주제명
- Film studies.
- 키워드
- Camp
- 키워드
- Broch, Hermann
- 키워드
- Kitsch
- 키워드
- Kundera, Milan
- 키워드
- Sontag, Susan
- 기타저자
- University of Washington Comparative Literature Cinema and Media
- 기본자료저록
- Dissertations Abstracts International. 85-01A.
- 기본자료저록
- Dissertation Abstract International
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798379912529
■035 ▼a(MiAaPQ)AAI30527910
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a101
■1001 ▼aAnderson, Douglas Jason.
■24510▼a"One Must Go Forth to Evil Houses": Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking▼h[electronic resource]
■260 ▼a[S.l.]:▼bUniversity of Washington. ▼c2023
■260 1▼aAnn Arbor :▼bProQuest Dissertations & Theses, ▼c2023
■300 ▼a1 online resource(252 p.)
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-01, Section: A.
■500 ▼aAdvisor: Bean, Jennifer.
■5021 ▼aThesis (Ph.D.)--University of Washington, 2023.
■506 ▼aThis item must not be sold to any third party vendors.
■520 ▼aThe faculty of taste as a dialectical unity of sensual and moral pleasure (or displeasure), an idea first consolidated as an effective concept by Immanuel Kant, has been fully commodified by capitalist-consumerist culture. Algorithms track the minutest habits of our online footprints, accompanied by a vast and anarchic network of scheming profiteers sending constantly morphing sign patterns to our brains, designed to accommodate and alter the mapped trajectories of our desires. Beyond the virtual, ideas and products are sold on the basis of individual and corporate adherence to normative rules of thought and conduct. Surveillance capitalism, the recently termed phenomenon of "wokeism," and religious fundamentalism (to name a few major coordinates of the present) all participate in and respond to these realities. It is in this medial and ideational landscape that the faculty of taste operates today and in which it must work to attain an ethical orientation, individually as well as corporately, personally as well as politically. But these developments cannot be disavowed, and these processes cannot be reversed, because they are the most forceful logical conclusions of the very Kantian transcendental aesthetic that gave their initial conceptual form to reality. Now, the very concept of taste itself, falsely concretized as "my taste" (or even "our taste") by the widespread hagiography of the Self, must be undone from within, by returning to the sources of its current formations and determining the extent to which other possibilities are still salvageable from the ruins of its cultural degradation and authoritarian manipulation. And this then poses an important "why" question: Why did the Human Mind desire this atomistic interpretation of taste so intensely that it would develop it so extensively and so powerfully? (Answering this completely would mean something like revealing the actual beauty available in both capitalism and narcissism, which I am not prepared to do here.) Within the sense of "the aesthetic" conceived in German Idealism most prominently first by Kant, but significantly developed in its more properly Romantic mode by the underappreciated Friedrich Schiller, one finds that the emphasis in "the faculty of taste" does not lie on taste as much as it lies on faculty; which marks it as a function of reason, the faculty of desire bound by the moral mandate of the categorical imperative to act in accordance with duty. More recently, two modern ideas track the most contemporary developments of both "taste's commodification" and "the faculty of taste's ethical possibility." These are, respectively, Hermann Broch's conception of "kitsch" and Susan Sontag's elaborations of "the aesthetic sense." Taken together, these ideas offer a different characterization of late 20th and early 21st century cultures of expression than is available in the popular (and notoriously inarticulate) concept of postmodernism. This dissertation challenges the binary opposition of modernism and postmodernism by reapproaching some of the dominant aesthetic ideas of the 19th and 20th centuries. Sontag's understanding of "the aesthetic sense" demands a refusal of periodizations of this kind and offers a model, shared by Broch and others, for an ethical engagement with reality, directed against "kitsch" through a value-based notion of truth founded in aesthetic achievement and aesthetic knowledge. It is an argument for an approach to media studies that grounds all understandings of aesthetics within the realms of both disinterested knowledge and ethical judgment.
■590 ▼aSchool code: 0250.
■650 4▼aAesthetics.
■650 4▼aPhilosophy.
■650 4▼aFilm studies.
■653 ▼aCamp
■653 ▼aBroch, Hermann
■653 ▼aKitsch
■653 ▼aKundera, Milan
■653 ▼aSontag, Susan
■690 ▼a0650
■690 ▼a0422
■690 ▼a0900
■71020▼aUniversity of Washington▼bComparative Literature, Cinema and Media.
■7730 ▼tDissertations Abstracts International▼g85-01A.
■773 ▼tDissertation Abstract International
■790 ▼a0250
■791 ▼aPh.D.
■792 ▼a2023
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T16933347▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
■980 ▼a202402▼f2024
