Код-«мусор» – кривой почерк – опечатка: несовершенство как литературный приём в цифровой эре
Code “garbage” - crooked handwriting - typo: Imperfection as a literary device in the digital age In this digitized age, we witness a transnational interest in the ‘aesthetics of imperfection’ – aesthetic gestures that foreground shortcomings, mistakes, and flaws. Blockbusters shot with cheap cam...
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| Main Author: | |
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| Format: | Article |
| Language: | deu |
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Universität Trier
2024-10-01
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| Series: | Internationale Zeitschrift für Kulturkomparatistik |
| Subjects: | |
| Online Access: | https://136.199.34.71/index.php/izfk/article/view/169 |
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| Summary: | Code “garbage” - crooked handwriting - typo: Imperfection as a literary device in the digital age
In this digitized age, we witness a transnational interest in the ‘aesthetics of imperfection’ – aesthetic gestures that foreground shortcomings, mistakes, and flaws. Blockbusters shot with cheap cameras, trash fashion, consciously blurry photos, glitch music: for the cultural producers and consumers of these and other aesthetic practices, the unpolished object is not a taboo but rather an asset or a hallmark of sincerity, authenticity, and other positive values. With the help of existing scholarship, in this article, I will study and compare the writings of three Russian poets/artists: Vera Khlebnikova, Vera Pavlova, and Linor Goralik. Each uses conceptual as well as formal, grammatical, and/or stylistic imperfections as an aesthetic device. The aim of my analysis is to juxtapose and historically contextualize the social anxieties that inform these and other present-day creative practices that foreground the imperfect.
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| ISSN: | 2698-492X 2698-4938 |