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All the above descriptions of Kitsch should be regarded as just part of a greater framework. More specifically, Kitsch can be related with various aspects of modern life with a special reference to art (as already explained above). Current paper examines a particular aspect of Kitsch: Irony. This sense is mostly related with Kitsch as part of the art trends within a particular society. In other words, the relationship between Kitsch and Irony could be developed mainly in the greater field of art. Towards this direction, it is suggested by Hjort et al. (1997, 229) that ‘the very notion of "taste" in art necessitates the existence of "bad taste" and, consequently, bad art; but bad art comes in many varieties and is subject to different kinds of objections; there is sheer technical incompetence, just to begin with (although artistic inability as such is much less fatal than it used to be)’. The above descriptions of Kitsch could be considered as valid only if referring to art; in other parts of social and political life Kitsch would be considered to take different format in accordance with the conditions applied on each particular area.
As already mentioned above, Kitsch can have many different aspects. In accordance with a definition given by the Dictionary of Art (London, 1998) ‘“Kitsch” has sometimes been used (for example, by Harold Rosenberg) to refer to virtually any form of popular art or entertainment, especially when sentimental; but though much popular art is cheap and crude, it is at least direct and unpretentious’. In accordance with the above, it is stated by Calinescu (1987, 260) that ‘seen as a lie, a kitsch work implies a close relationship and even a collaboration of sorts between the kitsch-artist and the kitsch-man; the latter wants to be "beautifully" lied to and the former is willing to play the game in exchange for financial gain;
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Along with time there has been difference in the approach towards Kitsch and now it has been viewed as derogatory work that is produced purely for commercial purpose (Solomon, 1991). These gaudy and insubstantial works often have popular appeal but they remain inferior because these are not the real efforts of the artists.
In this manner, there is a direct relationship between culture and the mass media. While culture gives identity to a society, the mass media serves as a vehicle to promote it. The mass media has also been identified as having a dynamic role in society. It is now seen as one which performs the function of an initiator of social change.
Kitsch changes according to style, but remains always the same. Kitsch pretends to demand nothing of its customers except their money - not even their time." ( Calinescu, 223) It is what Clement Greenberg thinks about what in contemporary mentality is understood as lack of value, being often associated with the term "rubbish".
For women, the idea of becoming a spinster can cause a great deal of anxiety. In the film, Nina Davenport's immediacy of getting hitched to Nick is greatly felt. She virtually forces her boyfriend to marry and this desperateness is felt by Nick and becomes another one his concerns.
A common definition to Postmodernism is 'to be beyond or after the modern'. It has emerged as a movement in different fields of art including literature, painting, sculpting and architecture. Though the term is not coined by him, Charles Jencks has been the first personality to theorize Postmodernism from the perspective of architecture.
ion of the information net which unites the whole world; ecological problems that are possible to solve only with the help of all mankind; the wars of the XX-th century are world wars, they involved a great number of people and countries.
The interest to the phenomenon of
Clement Greenberg was an American art critic who was associated with Modern art in the United States, with a strong focus on abstract expressionism. As a critic, he wrote the essay “Avant-Garde and Kitsch,” which claimed that avant-garde and modernist art were used as resistance against the dumbing down of culture caused by consumerism.
owever, in the first decades of the twentieth century, as the word “kitsch” went international.3 The three aesthetic characteristics of kitsch, according to Calinescu (1977) are that 1) its cheap; 2) its junk; and 3) there is “often something sketchy” about it.4 Plus,
Most peer reviewed journals were published as from 1987 to around 2000. They were distributed unequally to industries and other parts of the world. The results of quantitative research done suggest that, agrifood industry opportunities meant to benefit from chain management research are still to be explored
The author states that the movement of Kitsch is associated with the art of Greek and Rome. The painters of Kitsch accepted the philosophy and emphasized on its positive aspects. The philosophy of Kitsch is not against art. It focused on the establishment of its own independent structure and is considered as a type of indirect criticism.
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