東華大學圖書館 |

"One Must Go Forth to Evil Houses" : = Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"One Must Go Forth to Evil Houses" :/
其他題名:	Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking.
作者:	Anderson, Douglas Jason.
面頁冊數:	1 online resource (252 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
Contained By:	Dissertations Abstracts International85-01A.
標題:	Aesthetics. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30527910click for full text (PQDT)
ISBN:	9798379912529

"One Must Go Forth to Evil Houses" : = Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking.
Anderson, Douglas Jason.

"One Must Go Forth to Evil Houses" :Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking. - 1 online resource (252 pages)

Source: Dissertations Abstracts International, Volume: 85-01, Section: A.

Thesis (Ph.D.)--University of Washington, 2023.

Includes bibliographical references

The 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.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379912529Subjects--Topical Terms:

523036
Aesthetics.
Subjects--Index Terms:

CampIndex Terms--Genre/Form:

542853
Electronic books.

"One Must Go Forth to Evil Houses" : = Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking.
LDR:04975nmm a2200397K 4500 001 2364309
005 20231130104229.5
006 m o d
007 cr mn ---uuuuu
008 241011s2023 xx obm 000 0 eng d
020 $a 9798379912529
035 $a (MiAaPQ)AAI30527910
035 $a AAI30527910
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Anderson, Douglas Jason. $3 3705115
245 1 0 $a "One Must Go Forth to Evil Houses" : $b Kitsch, the Aesthetic Sense, and the Ethics of Negative Thinking.
264 0 $c 2023
300 $a 1 online resource (252 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
500 $a Advisor: Bean, Jennifer.
502 $a Thesis (Ph.D.)--University of Washington, 2023.
504 $a Includes bibliographical references
520 $a The 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.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Aesthetics. $3 523036
650 4 $a Philosophy. $3 516511
650 4 $a Film studies. $3 2122736
653 $a Camp
653 $a Broch, Hermann
653 $a Kitsch
653 $a Kundera, Milan
653 $a Sontag, Susan
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0650
690 $a 0422
690 $a 0900
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a University of Washington. $b Comparative Literature, Cinema and Media. $3 3545841
773 0 $t Dissertations Abstracts International $g 85-01A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30527910 $z click for full text (PQDT)