The zany, the cute, and the interesting saturate postmodern culture, dominating the look of its art and commodities as well as our ways of speaking about the am
A provocative theory of the gimmick as an aesthetic category steeped in the anxieties of capitalism. Repulsive and yet strangely attractive, the gimmick is a fo
Envy, irritation, paranoia—in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situati
The Cute tracks the astonishing impact of a single aesthetic category on post-war and contemporary art, and on the vast range of cultural practices and discours
In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful conc