This dissertation explores the ways in which affective responses to disabled bodies are represented and how this invites us to read these bodies aesthetically. I argue that this affective impact... Show moreThis dissertation explores the ways in which affective responses to disabled bodies are represented and how this invites us to read these bodies aesthetically. I argue that this affective impact can be understood as an affordance, a term I use to describe how the appearance of and interaction with disabled bodies produces affective responses such as fear, wonder, or disgust. I study the relationship between representation and affective reactions through literature and other art forms. Through close readings of literary texts and works of art, this dissertation offers an alternative to so-called model thinking—an approach that emphasizes categorization. Instead, I propose a reading that focuses on how bodily capacities are culturally and socially translated into (dis)abilities. Unlike taxonomic approaches that categorize and generalize, this method allows moving from the particular to the private. Works of art, although prone to generalization, emphasize their unicity and resist categorization. By analyzing how different art forms represent disabled bodies, the dissertation brings a new dimension to understanding our emotional responses and the aesthetic appreciation of bodily diversity. Show less
My project, Tracing Shumi: Politics and Aesthetics in Modern Japanese Literary Discourse and Fiction, traces the concept of shumi (趣味) in late 19th and early 20th century Japanese literary... Show moreMy project, Tracing Shumi: Politics and Aesthetics in Modern Japanese Literary Discourse and Fiction, traces the concept of shumi (趣味) in late 19th and early 20th century Japanese literary discourse and fiction. The word shumi was introduced in the 1880s as a translation word for the notion of 'taste'. However, my project aims to show how the word operated beyond a mere translation of an idea. Instead, I demonstrate how shumi was used to rhetorically frame the ways in which people were supposed to behave, sense, and consume and which actors and institutions benefited from such discursive frameworks. Yet at the same time, this dissertation argues that the language of shumi also undermined the very ideological structures it sought to engender. Ultimately, Tracing Shumi, sheds light on how modernity unfolds in the intersection of politics and aesthetics, beyond a limited imagination of politics entirely in terms of power and of aesthetics solely in terms of beauty, at a specific juncture in Japanese history. Show less
This dissertation deals with Hegel’s theory of the sublime (das Erhabene). I focus specifically on die heilige Poesie (sacred poetry), a form of art that he identifies with the Judaic Psalms and... Show moreThis dissertation deals with Hegel’s theory of the sublime (das Erhabene). I focus specifically on die heilige Poesie (sacred poetry), a form of art that he identifies with the Judaic Psalms and which I claim to be the core of Hegel’s approach to sublimity. I claim that Hegel’s apparent lack of interest in the sublime must be clarified and interpreted in the light of his comments on the heilige Poesie. But to fully elucidate this, it is necessary to move beyond the domain of Hegel’s aesthetics: we should turn to his early practical dispute, before 1800, with Kantian morality in order to reconstruct and fully elucidate Hegel’s attitude toward sublimity. Show less
