Aesthetics Of Excess Research Articles

Aesthetics of excess: The art and politics of Black and Latina embodiment

Aesthetics of excess: The art and politics of Black and Latina embodiment

НЕОБАРОЧНЫЕ ЭЛЕМЕНТЫ ПОЭТИКИ ЮРИЯ БУЙДЫ

The article analyzes the neo-baroque elements in the work of the writer Yury Buida, considers the concepts of neo-Baroque (Benjamin, Deleuze, Calabrese, Lipovetsky), as well as the relationships between Baroque and neo-Baroque in postmodern poetics. In Buida’s prose such distinctive features of neo-Baroque aesthetics are revealed as excessive quoting and genre-style eclecticism (“The Fifth Kingdom”); “rhythm of repetitions and breaks” in repetitive motifs and representation of the characters (“Everyone flowing”); manifestation of neo-Baroque melancholy and nostalgia (“The Prussian Bride”); the aesthetics of excess, manifested in the physical and moral deformation of the characters or in mass scenes of violence in a theatrical fashion; the image of the library-labyrinth (“Nscdtchndsi”). The article also interprets the role of the Königsberg text as an object of the author’s melancholy and nostalgia, an element of the narrative linking of the author’s stories. The neo-Baroque elements are analyzed not only as a re-mythologization of the style and of the specific views of the epoch, but also from the point of view of their poetic function in the texts. In Buida’s texts these elements can perform as tools of author’s control over the reader’s reception, as well as strategies aimed to confront chaos and entropy.

Medijalni obrt i estetika ekscesa

The evolution of media system had an impact on human forms of communication and the relationship between human beings and reality (Schmidt,2013). In addition, the relationship between the media and human beings has undergone changes. Human beings have become an instrument of the media, rather than its goal, which is opposite to deontological ethics based on the respect of human dignity. After transition from communicativeness to mediality, one can talk about the mediatization of mind, which consists of the development of new tools: computers (Hudzik, 2018) and technocentrism (Krämer, 1989). The medial turn means that the form is more important than the content, which is reflected in the media aesthetics, also called (after the media turn occurred) the aesthetics of excess. (Lipovecki, Seroa 2013). The author explains the medial turn phenomenon and explores the nature of the corresponding media aesthetics. A descriptive method is used. Given that visual culture is widespread, due to the development of technologies and possibilities of manipulating and using different effects, the focus of media contents is more on the image, which goes in favor of the hypothesis that contemporary society is the society of images, not of the text (Mirzoef, 1983). This is also the main hypothesis in the paper, which is confirmed in the conclusion.

O naturalismo e suas dispersões em filmes brasileiros dos anos 2000

O naturalismo literário é uma estética frequentemente repelida quando se trata de pesquisar naturalismo e realismo no cinema. Neste trabalho, faço uma abordagem alternativa, recuperando as suas principais características para compreender uma onda de filmes brasileiros dos anos 2000. Ao longo da década, uma série de filmes atualizou essas características, dentre as quais destaco o objetivo de fazer estudos de realidades periféricas esgotadas pela crise de modelos de civilização; a procura por doenças profundamente impregnadas nessas regiões; a recorrência do elemento trágico, da entropia e/ou da pulsão de morte; uma estética de excessos, com crueldade, sensação e sensacionalismo. Essas características reúnem-se em filmes naturalistas, mas se dispersam ao longo da década, mostrando que as premissas naturalistas deixaram de ser atrativas como projeto estético e político com o passar dos anos. Finalmente, reitero a pertinência e a necessidade de colocar o problema da imagem e do naturalismo para além da submissão extrema e caricata ao paradigma da transparência.

“Irish Nights”: Paratheatrical Performances of Melodrama on and off the Belfast Stage

Until relatively recently, melodrama has been an unfairly maligned genre of theatre history; its pejorative associations based on the prejudiced assumptions that its aesthetics of excess (in terms of its extravagant emotion, sensationalism and popularity amongst predominantly working class audiences) meant, therefore, that it was for simpletons. What Walter Benjamin excoriated as the “ancient lament that the masses seek distraction whereas art demands concentration from the spectator” fuelled bourgeois disdain for this theatrical form and the derision of theTheatrical Inquisitor’s dismissal of melodrama as “aris[ing] from an inertness in the minds of the spectators, and a wish to be amused without the slightest exertion on their own parts, or any exercise whatever of their intellectual powers” remained the dominant critical response throughout the nineteenth century. Indeed, such views continued well into the twentieth century and certainly characterized the modernist reactions of the founding figures of the Irish national theatre in this period. Frank Fay, cofounder of the National Dramatic Society, denounced both the aesthetics of Dublin's Queen's Theatre as the “home of the shoddiest kind of melodrama,” and the intelligence of its audiences who, “wouldn't,at present, understand anything else.”

Steven Cohen, Nandipha Mntambo: Neo-Baroque Hybrid Forms

This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art and explores reasons for the emergence of this style. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth-century Baroque style evolved. Neo-Baroque aesthetics of excess manifest themselves in a variety of ways and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work.

'This Incomprehensible Thing': Jonathan Littell's The Kindly Ones and the Aesthetics of Excess

Jonathan Littell’s novel Les Bienveillantes ( The Kindly Ones ) is challenging in both its subject and approach. Purporting to be the memoirs of SS-officer Maximilien Aue, it represents many of the Second World War’s most grievous atrocities in graphic detail, an approach which has been criticised as a ‘poetics of horror’ created by a ‘pornographer of violence’. However, Littell’s transgression of the literary norms of Holocaust representation through minimalist underwriting by the employment of an aesthetics of excess is not gratuitous; instead, it both revitalises the reader’s reaction to the depicted historic events, and extends their ethical implications beyond their historical moment.