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

By Grabes, Herbert

This compact, fundamental assessment solutions a vexed query: Why achieve this many works of contemporary and postmodern literature and artwork look designed to seem 'strange', and the way can they nonetheless reason excitement within the beholder? to aid triumph over 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 analyzing or viewing strategy. There follows a extensive survey of contemporary and postmodern traits, illustrating their marvelous type and making simple the manifold tools and techniques followed through writers and artists to 'make it strange'. The booklet 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 - one who has passed through extra transformation during the last 20 years. past its usefulness as a realistic advent to the 'aesthetic of the strange', the current research additionally takes up the newest, state-of-the-art features of scholarly debate, whereas initiates are provided an unique method of the theoretical implications of this seminal phenomenon

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

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Eliot (London: Faber & Faber, 1960): 46. 2 The Strange Art and Literature of Modernism Radical Strangeness in Early Modernism of the experience of art, aesthetics is closely linked with artistic production. Different types of art enable different experiences. It is therefore necessary to show that Modernist and Postmodern art imparts in the first place an experience of the strange in the sense of the alienating Other, before explaining theoretically and more precisely the particular nature of this experience as an independent aesthetic of the strange alongside of the beautiful and the sublime.

The Dadaists expanded the definition of art through their “anti-art” in the form of two- and three-dimensional collages made of garbage, intentionally banal ready-mades, and a total abandonment of the lasting ‘work’ in their happenings. The Surrealists added “automatic writing,” rubbings, the unconsciously motivated spreading of patches of paint on a canvas, as well as the combination of heterogeneous objects in magical dreamworlds. 44 MAKING STRANGE u Confronted with all these radically expanded possibilities, the viewer could in a similar way have totally new experiences.

21 His poetry, then, consists of nothing but neologisms which only suggest possible affinities to actual Russian words at the level of sound (as in the case of nonsense poetry) or morphemic structure. There is no need to further explain how strange an effect this must have had, and the authors were after precisely this effect – after all, the title of the 20 Filippo Tommaso Marinetti, “Technical Manifesto of Futurist Literature”; quoted in Manifeste und Proklamationen der europäischen Avantgarde (1909– 1938), ed.

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