Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Huang Jianxin's Cuowei and/as Aesthetic Cognition

Huang Jianxin's Cuowei and/as Aesthetic Cognition This essay will take as its starting point the general thesis that the work of art represents an originary way of experiencing the world, an artist’s struggle to create a form appropriate to the demands of his or her experience. In keeping with this general principle, I will engage Huang Jianxin’s positions 7:2 0 1999by Duke University Press. positions 7:2 Fall 1999 (1987)in a close reading, to induce the various methods through which the film stages subjectivity-at the conscious and especially the unconscious levels-as a series of interrelated conflicts that are intimately linked to the larger sociocultural forces of the moment. This reading demonstrates that an artistic form may embody the complexities of experience in ways that augment, anticipate, or even exceed the theoretical terms or constructs we habitually resort to when confronted with the task of interpretation. Consequently, it should be one of our duties as critics, comparativists, or skeptics of culture, to always remain open to the possibility of theory’s inadequacy in the face of art.’ I a m not speaking of sacrificing the possibility of interpretation on the (impossible) altar of pure aesthetics. Nor is this seemingly precarious situating of my methodological approach an abandonment http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

Huang Jianxin's Cuowei and/as Aesthetic Cognition

Kaldis, Nick
positions asia critique , Volume 7 (2) – Sep 1, 1999
Download PDF
37 pages

Loading next page...
 
/lp/duke-university-press/huang-jianxin-s-cuowei-and-as-aesthetic-cognition-TNsB70ET0R
Publisher
Duke University Press
Copyright
Copyright 1999 by Duke University Press
ISSN
1067-9847
eISSN
1527-8271
DOI
10.1215/10679847-7-2-421
Publisher site
See Article on Publisher Site

Abstract

This essay will take as its starting point the general thesis that the work of art represents an originary way of experiencing the world, an artist’s struggle to create a form appropriate to the demands of his or her experience. In keeping with this general principle, I will engage Huang Jianxin’s positions 7:2 0 1999by Duke University Press. positions 7:2 Fall 1999 (1987)in a close reading, to induce the various methods through which the film stages subjectivity-at the conscious and especially the unconscious levels-as a series of interrelated conflicts that are intimately linked to the larger sociocultural forces of the moment. This reading demonstrates that an artistic form may embody the complexities of experience in ways that augment, anticipate, or even exceed the theoretical terms or constructs we habitually resort to when confronted with the task of interpretation. Consequently, it should be one of our duties as critics, comparativists, or skeptics of culture, to always remain open to the possibility of theory’s inadequacy in the face of art.’ I a m not speaking of sacrificing the possibility of interpretation on the (impossible) altar of pure aesthetics. Nor is this seemingly precarious situating of my methodological approach an abandonment

Journal

positions asia critique – Duke University Press

Published: Sep 1, 1999

There are no references for this article.