How to Postcritique I. Delaying Judgment. In Conversation With Rita Felski

nordlitt – Skandinavistische Literaturforschung im Gespräch

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1+ y ago 1:42:18

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How does aesthetic experience come about? Rita Felski, University of Virigina, author of The Limits of Critique and Hooked: Art and Attachment guides us through her actor-network-inspired theories and demonstrates how the key concepts of identification, empathy and attachment can illuminate our reading of Hanne Ørstavik’s novel Love. We also look at the pleasures of critique and the exaggeration of its significance, learn about Queer Theory as an inspiration to Postcritique, hear a resonant defence of Hartmut Rosa and get a glimpse of Rita Felski’s new book project.

(00:00:17) Introducing Rita Felski

(00:00:40) Rita Felski’s Connection to Scandinavia

(00:01:32) How Stefanie Encountered Rita’s Work

(00:02:14) On Uses of Literature

(00:04:20) How to Have Postcritical Conversations About Literature

(00:10:30) Other Ways of Looking at Literature And Art

(00:13:14) Circumventing the Dichotomy Subject vs. Object

(00:16:31) Actor-Network-Theory

(00:22:57) New Aesthetic Experiences

(00:28:47) Attachment to Theory

(00:35:51) Response to Critique of Rita Felski’s Approach

(00:44:28) Rita Felski’s Attachment to Hanne Ørstavik’s Kjærlighet/Love

(00:46:18) Introducing the Novel

(00:49:15) Identifying the Threat in the Novel

(00:52:26) Different Perspectives in the Novel

(00:54:52) Teaching Kjærlighet

(00:57:23) Identification in the Novel

(00:59:40) Student Question

(01:03:35) Varieties of Identification

(01:07:01) Identification With the Different Perspectives in Kjærlighet

(01:19:46) Intimacy

(01:22:42) Attunement

(01:27:57) Attunement and Identification as Potential Means to Knowledge

(01:33:27) Ironic Identification

(01:39:19) What Advice Would You Give Your Student-Self?

Bibliography, further information and comments are available on Experiment Geisteswissenschaft.

https://exgeist.hypotheses.org

Idea and conception: Stefanie von Schnurbein

Cut: Cecilia Falkman

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