Download Making strange : beauty, sublimity, and the (post)modern by Grabes, Herbert PDF

By Grabes, Herbert

This compact, critical review solutions a vexed query: Why achieve this many works of recent and postmodern literature and paintings look designed to seem 'strange', and the way can they nonetheless reason excitement within the beholder? to aid conquer the preliminary barrier as a result of this 'strangeness', the overall reader is given an preliminary, non-technical description of the 'aesthetic of the unusual' because it is skilled within the examining or viewing approach. There follows a extensive survey of contemporary and postmodern traits, illustrating their remarkable sort and making simple the manifold tools and techniques followed via writers and artists to 'make it strange'. The ebook closes with a scientific precis of the theoretical underpinnings of the 'aesthetic of the strange', focussing at the ways that it differs from either the sooner 'aesthetic of the attractive' and the 'aesthetic of the sublime'. it really is made amply transparent that the strangeness attribute of contemporary and postmodern paintings has ushered in a wholly new, 'third' type of aesthetic - person who has gone through extra transformation over the last twenty years. past its usefulness as a realistic creation to the 'aesthetic of the strange', the current examine additionally takes up the newest, state-of-the-art points of scholarly debate, whereas initiates are provided an unique method of the theoretical implications of this seminal phenomenon

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Extra info for Making strange : beauty, sublimity, and the (post)modern 'third aesthetic'

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A culture that produces ‘interest-free’ literature and art of the type which is not necessarily beautiful but often provocatively alienating helps to ensure, in perhaps the most effective way, its own preservation and further development. It is essential, however, that the potential of this art be seized upon by as many as possible; and the aesthetic of the strange arguably requires a firmer education in aesthetics than any before it. u 20 Ezra Pound, “The Serious Artist,” Literary Essays of Ezra Pound, ed.

Nevertheless, one could attempt to imitate the elementarism of the abstract painters and prevent the more complex creation of meaning of natural language by suspending the unity of discourse, rules of grammar, and the semantic field. The extent to which this would go becomes clear in Filippo Tommaso Marinetti’s “Technical Manifesto of Futurist Literature” from 1912, in which he demands: SYNTAX MUST BE DESTROYED BY ARRANGING THE SUBSTANTIVES AT RANDOM AS THEY COME INTO BEING. THE VERB MUST BE USED IN THE INFINITIVE […].

40 MAKING STRANGE u Breton and Philippe Soupault to the belief that this spontaneously resulting metaphoric language had the ability to open a path to the inner truth of human beings. This new trust in the cognitive value of uncontrolled language brought about a turning away from the mainly destructive anarchy of the Dadaists and to the more hopeful Surrealist Manifesto of 1924. The belief that humans could better deal with the contradictions of the material world by means of a revival of their associative abilities even included the utopian idea that the Surrealist reworking of language could also cause changes in social reality.

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