The Limits of the Cute: The Persistence of Use in Lorine Niedecker's Poetics

IF 0.2 4区社会学 Q4 CULTURAL STUDIES

Cultural Critique Pub Date : 2023-02-15 DOI:10.1353/cul.2023.0015

Kelly Hoffer

引用次数: 0

Abstract

Abstract:In Our Aesthetic Categories (2012), Sianne Ngai theorizes the "cute," interpreting the turn to the small object in twentieth-century avant-garde poetry as a symptom of late capitalism's hyper-commodification. In response, this essay argues that the cute fails to accurately describe the projects of some avant-garde poets such as Lorine Niedecker. While Ngai's theory presumes a bourgeois subject who projects a sensuous relationship onto objects, obscuring the reality of commodification, Niedecker's poems do not enjoy the luxury of this projection. As a working-class poet, she is aware of objects' impact on her comfort and survival as part of her daily labors. Instead, Niedecker's poems offer a portrait of objects in use, recognizing the poet's reliance on material conditions to live, and further, to create.

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可爱的极限:洛琳·尼德克尔诗学中使用的坚持

摘要:在《我们的审美范畴》(2012)一书中，Ngai Sianne将“可爱”理论化，将20世纪先锋诗歌转向小物件的现象解释为晚期资本主义超商品化的一种症状。对此，本文认为“可爱”并不能准确地描述像洛琳·尼德克尔这样的先锋派诗人的作品。虽然Ngai的理论假设了一个资产阶级主体，他将感性关系投射到客体上，模糊了商品化的现实，但尼德克的诗并没有享受到这种投射的奢侈。作为一个工人阶级的诗人，她意识到物品对她的舒适和生存的影响，这是她日常劳动的一部分。相反，尼德克的诗歌提供了一幅使用物品的肖像，认识到诗人对物质条件的依赖来生活，进而创造。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Cultural Critique Multiple-

CiteScore

0.50

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0.00%

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期刊介绍： Cultural Critique provides a forum for international and interdisciplinary explorations of intellectual controversies, trends, and issues in culture, theory, and politics. Emphasizing critique rather than criticism, the journal draws on the diverse and conflictual approaches of Marxism, feminism, psychoanalysis, semiotics, political economy, and hermeneutics to offer readings in society and its transformation.