...Ryan Canlas This essay reads Jean-Paul Sartre's notion of literary “engagement” alongside Hannah Arendt's writings on literature as a way of establishing the importance that both writers accord to the practice of reading literature as a form of aesthetic judgment. By paying particular attention...

... as a whole. 13 On characters in Absalom “watching” Sutpen's story, see also Lurie 10, 17, 103–28 . 14 On modernism's filmic paradigm of fictional representation, see Spiegel . 15 Forter's close reading bears an unusually complex and interesting relation to aesthetic judgment...

... and the hint of a bright red manicure), the interesting, Ngai warns us, may appear to be an “aesthetic without content” ( 120 ). But she theorizes it as a literalization of the critical engagement with the other that defines aesthetic judgment as such. “The interesting launches us on a search for its own...

... idealized soundproofing and the auditory preferences of inhabitants even necessitated that aesthetic judgment play a complementary role to the architectural acousticians' scientific methods. The difficult interface of these listening modes is quite apparent in the curt and stilted concessions...

... processes necessarily subordi- nated to a disciplinary "disinterest" aimed at middle-class acceptability? The interrela- tionship between aesthetic judgment and class consciousnessbecomes a particularly crucial aspect of the fourth chapter, which is primarily concerned with the writing of the sexual...

...) that qualifies Kant's belief in the universality of aesthetic judgment. It was a universalism of the aesthetic that gave Pound the award, and a robust nationalism that would have denied it to him In both cases, aesthetics is fatally implicated in the political, particularly when the former is used...

.... The aesthetics make this novel especially unwelcome to a literary establishment that holds to a Kantian notion of aesthetic judgment. To appreciate this novel requires a critic willing to attend to Pierre Bourdieu's argument that aesthetic judgment is at worst a deliberate mystification and at best...

... claimed by a self- fashioning individual. Melville establishes this alternative and specrfically American model of per- sonhood not by abandoning realism but by redefining it. Realism becomes, in his hands, more a criterion for aesthetic judgment-and an instrument of subjective taste-than...

... that there is no such thing as aesthetic judgment and that taste is purely subjective (25). The novel's vacillating protagonist, Konstantin Levin, is locked in a solitude that is intensified by his penchant for scrutinizing the social and natural world—staring at things until they lose their everyday familiarity and meaning...

... Blackmur Richard P. Introduction . The Art of the Novel: Critical Prefaces . By James Henry . New York : Scribner's , 1934 . vii – xxxix . Brewis Oliver . “ Interest and Aesthetic Judgment in Henry James's Late Novels .” Henry James Review 33 . 2 ( 2012 ): 95 – 109...

... for aesthetic judgment). The aesthetic experience interrupts one belief (the gestures of a body that senses a given real in order to adapt its movements to that real) with another fictional as if (as if it were capable of sensing—feeling, understanding, and knowing—otherwise). Political dissensus also takes...

... of either sameness or otherness! While Lloyd locates patterns of racialization in the cultivation of detached aesthetic judgment, Zizek delineates the racialized char- acter of aestheticized objects, which are beautiful according to their representability. Any beautiful object must be contained...

... judgment from empirical standards. But within her dialectical novel, even this seemingly automatic, gestural response of aversion to the monster—covering one’s eyes—also suggests an account of preju- dice as a version of the customary, social refusal to “countenance” or recognize the common humanity...

... of taste is obliged to define itself), is necessarily collective. That is to say that the subject of an aesthetic judgment is a “one” which may take itself for an “I”: the objectivization of the creative intention which one might call “publication” (in the sense of “being made public”) is accomplished...

... to theorize the inextricability of social desire from narrative form and narrative desire from social form. Pierre Bourdieu has famously conceived of cultural capital as the management of aesthetic judgment and social form, placing an emphasis on the relationship between agents and social positions...

... of the sensible the system of self-evident facts of sense per- ception that simultaneously discloses the existence of something in common and the delimitations that define the respective parts and positions within it’’ (12). Rancie`re thus indicates that the sensus communis of aesthetic judgment is grounded...

... aesthetic pleasure in the world of objects as well. In the Spectator 411-421 (1712), Joseph Addison drew on Locke to define these secondary "pleasures of the imagination": the same mind that collected the information that forms the basis of knowledge and judgment possessed the power to enjoy...

... set of developments in the nineteenth century through which the Kantian understanding of aesthetic experience as disinterested reflective judgment was replaced with a materialist theory of aesthetic response as a corporeal reaction of matter (bodies and nerves) to matter (aesthetic objects...

..., was that adjustment in action that could know no rule other than the author’s judgment; it was a balance between the aesthetic laws of composition and the (in Lukács’s view) ethical requirement upon the novelist to acknowledge the limitedness of his or her vision relative to the social totality of the real...

... of the sublime is at once a feeling of displeasure, arising from the inadequacy of imagination in the aesthetic estimation of magni- tude to attain its estimation by reason, and a simultaneously awakened pleasure, arising from the very judgement of the greatest faculty of sense being...