“More specifically, this book turns to ugly feelings to expand and transform the category of “aesthetic emotions,” or feelings unique to our… — Sianne Ngai Copy Share Image
“these audible demonstrations that whether the feeling is vested in abstract systems or in personal relationships, the world of the novel’s story… — Sianne Ngai Copy Share Image
“In fact, because tone is never entirely reducible to a reader’s emotional response to a text or reducible to the text’s internal… — Sianne Ngai Copy Share Image
“call “stuplimity” through a literature of exhausting repetitions and permutations, paranoia through a transcription-based poetry that continually raises the question of whether… — Sianne Ngai Copy Share Image
“fact, at times it seems as if The Confidence-Man has been aggressively constructed for the purpose of giving the reader the unpleasant… — Sianne Ngai Copy Share Image
“is an account, in other words, of how a problematic valorization of powerlessness as “good” can easily emerge from the same situation… — Sianne Ngai Copy Share Image
“there is a sense in which ugly feelings can be described as conducive to producing ironic distance in a way that the… — Sianne Ngai Copy Share Image
“In other words, I mean the formal aspect of a work that has made it possible for critics of all affiliations (Marxist,… — Sianne Ngai Copy Share Image
“The absence of attention to this way of talking about feelings and literature not only is specific to recent literary scholarship on… — Sianne Ngai Copy Share Image
“Indeed, as a system of exchange based on a highly codified feeling that is continually reproduced and circulated even as it cannot… — Sianne Ngai Copy Share Image
“While this book makes a similar if more modest claim for the social significance of its own fundamentally ambivalent “sentiments of disenchantment”… — Sianne Ngai Copy Share Image
“in my afterword, which discusses the ugliest of all ugly feelings: disgust. As” — Sianne Ngai Copy Share Image
“—rather than those of more iconic figures such as Ahab, Othello, or Lear, my focus will be on irritation instead of anger, envy rather… — Sianne Ngai Copy Share Image
“Both are also examples of film noir, a postwar genre commonly understood (even to the point of cliché) as being aesthetically and ideologically driven… — Sianne Ngai Copy Share Image
“In other words, a positional parallelism in which sound is foregrounded as an independent feature (Nathanson, WP, 140), comes to override an ideational parallelism… — Sianne Ngai Copy Share Image
“Indeed, while it is widely agreed that “emotions play roles in forms of action,”22 the feelings in this study tend to be diagnostic rather… — Sianne Ngai Copy Share Image
“On one hand, the state of being “animated” implies the most general of all affective conditions (that of being “moved” in one way or… — Sianne Ngai Copy Share Image
“In fact, the shot’s cunning re-objectivization suggests just how uncertain this surveillance expert’s grasp of the visual field has perhaps been all along.” — Sianne Ngai Copy Share Image
“In fact, I would suggest that what each moment produces is the inherently ambiguous affect of affective disorientation in general—what we might think of… — Sianne Ngai Copy Share Image
“As an affective matrix devised as a “psychological explanation” for revolutionary or political impulses, which reduces social antagonisms to deficiencies of individual character or… — Sianne Ngai Copy Share Image
“these audible demonstrations that whether the feeling is vested in abstract systems or in personal relationships, the world of the novel’s story runs on… — Sianne Ngai Copy Share Image
“Indeed, as a system of exchange based on a highly codified feeling that is continually reproduced and circulated even as it cannot be subjectively… — Sianne Ngai Copy Share Image
“The Conversation to produce another highly determinate feeling—paranoia—that not coincidentally replicates the subjective/objective oscillation in its basic structure: Is the enemy out there or… — Sianne Ngai Copy Share Image
