Esse foi o primeiro livro que eu comecei a ler esse ano e so terminei ele agora em agosto KKKKKK nao creio que nao tem nem 200 paginas e eu dei esse tempo todo. se vc gosta mt da serie hannibal super recomendo mas uma leitura bem densa de qualquer forma algumas horas eu ficava mds nao tenho cacife pra esse livro nao kkkkkkk mas terminei 9781498548496 Exaggerated Excessively repetitive Conceited Without rhyme or reason Extremely inflated 9781498548496 First this is the best subtitle in the history of subtitles. Apart from those material concerns any small quibbles I have with this book namely Klock s dogged reluctance to use a comma where commas would increase readability greatly are vastly overshadowed by what a valuable and smart work this is In fact I m quite annoyed as this is something I ve been ruminating on but didn t get set down in writing before reading this Klock considers HannibalBryan Fuller s masterpiece television show that aired from 2013 2015 through the lens of aestheticism particularly that brand that comes to us via Walter Pater and Oscar Wilde I have a LOT of marginalia in this book 9781498548496 I am sorry but I was going through a big Hannibal brainrot and just had to read as much about it as I could In my point of view he went a little overboard with some of his opinions and that got me kinda uncomfortable but it was a good analysis nonetheless 9781498548496 TL DR If Oscar Wilde ate people he would eat Geoff Klock Support your local library instead of paying for this book. I promised this almost two months ago and I hope you ll all forgive me for taking so long to deliver Going into Aestheticism Evil Homosexuality Hannibal If Oscar Wilde ate people I had pretty high expectations for CUNY philosophy professor Geoff Klock The book had I been unable to find it at the University library would have cost me around 90. 00 That s a huge investment for a scant 120 pages one I was tempted to make solely because of the implications made by the book s title The title implies that a marriage of aesthetic philosophy and queer theory used to analyze Brian Fuller s Hannibal It implies that perhaps a criticism of the queer coded villain trope might also be involved somewhere in that analysis It implies that there will be at least some mention of the homoeroticism evident in the relationship arc between Will Graham and Hannibal Lecter. a lofty and cerebral writing that makes no attempt to meet its prospective audience where they re at then this is not a book I can recommend reading lightly Klock s style is largely inaccessible and florid I enjoyed most of it but it isn t easy to parse his nested clauses even with my college education because I have aphasia I imagine others will have similar experiences While he explicates Hannibal extremely well he doesn t bother to attempt to familiarize the audience with the individual philosophers whose dicks he rides so hard Walter Pater Oscar Wilde others and that can be aggravating for folks who want context regarding aesthetic philosophy and the individuals who informed it This is clearly meant for students who are already familiar with philosophy I personally was left feeling like he was name dropping just to look cool. Klock opens the book briefly describing the principles of aesthetic philosophy as it was popularized by Oscar Wilde and a bunch of other dead white dudes from the 1800 s beauty for its own sake is the only Moral Good or less If that s not what the audience is supposed to take away from this section then you might want to consider that a failing on the part of the author to teach You can read about it and its associated art movement on Wikipedia It s an interesting perspective and Klock skillfully applies this lens to every aspect of Fuller s adaptation Whether it s costumes scene dressing cinematography editing dialogue word choice actors tone and delivery poetry referenced visual and textual allusions literary devices color theory it s dizzying when the whole of it is laid out It s very easy as a reader to lean back in awe of the artistry It is at times overwhelming but I found the density of these parts of the book to be pleasing This intricate close reading is exactly what I was looking for It s apparent that Klock appreciates the amount of love that went into making it While Klock has no clear direction no obvious point to prove with this analysis it is decadent and fun to read academically speaking. __It isn t until page 54 halfway through the book that he introduces his central argument I have set Wilde s aestheticism against the Social Justice Activists and identity is the ground on which they are most radically opposed for Pater in the words of Yeats identity is a center which cannot hold modern Social Justice activism is founded on identity politics whose anthem is Lady Gaga s Born this Way where my identity as a gay man or female or black sic is often anchored in a radical way especially in the case of trans experience where it is anchored deeply than the physical body which has traditionally defined gender. That is to say in clearer terms that a piece of media cannot be informed by aesthetic philosophies and be analyzed through the lenses of sexual gender or race identity Why Klock felt the need to mention race when it has factored not at all in any part of his analysis to this point even implicitly is beyond me I don t know where to begin unpacking everything that is both incorrect and objectionable about this sentiment so please bear with me as I muddle through. From a purely aesthetic standpoint this is the ugliest sentence I ve ever read This clumsy segue shoehorns in as many marginalized identities as possible without respect to syntax or the audience s understanding of the tenuous grammar It s arrogant The mere inclusion of the phrase for Pater in the words of Yeats is dripping with pretention as if Klock simply could not stand the thought of his audience perhaps not noticing that he recognized Pater s reference to Yeats instead of just directly quoting either Pater or Yeats It is morally ugly as well barely concealing various prejudices Calling human women female is reminiscent of those vitriolic incels oozing from the deepest crevices of the internet to perpetuate white supremacist violence. It would perhaps read better as Women the gays and those darn millennials keep giving valid criticism of institutions and art and I don t like it Get out of my ivory tower you plebians Also I don t like Black or trans people either I feel like I should note that Klock failed to capitalize Black as is appropriate when discussing race rather than the color of crayon I m further compelled to point out that Klock s bitter reference to Lady Gaga s Born This Way dates his analysis rooting it firmly in the sociopolitical landscape of 2011 United States an aesthetic faux pas which he expounds for pages that Hannibal deftly avoids making in the very first pages of the book 6 He shows his hand a little with this statement highlighting how very much he fails to understand modern queer perspectives on intersectionality and institutional violence If I weren t so embarrassed for Klock I d be impressed by the narrowness of his understanding. __Let s get one thing straight Oscar Wilde was not He literally died because he was gay suffering ten years incarceration on obscenity homosexuality charges before dying shortly after his release from prison Bryan Fuller is also gay This reductive and narrow perspective identity is the ground on which Social Justice and Aestheticism are most radically opposed is insulting to Klock s Fuller s and Wilde s audiences the people reading this book who might have the audacity to be female or gay or Black or trans The people who picked it up in the hopes that the author might have something substantial to say about how Hannibal treats the beautiful the morally repugnant and the queer. Klock loosely constructs his argument from this point onward with little regard for his previous close reading Remember it took him half a book to work up the courage to state this position Now in an obvious effort to protect himself from criticism he buries it in pretention. He remarks that dissolving of identity is crucial to aestheticism attempts to prove this by referencing three different artists in rapid succession including Henry Darger who was an outsider artist not an aesthete For Klock the dissolution of identity is a primary theme in Hannibal The problem is though that isn t the primary theme of Hannibal rather the series concerns itself with the dissolution of societal barriers that would otherwise constrain the development of identity An inherently queer nuance Klock seems to have somehow missed despite his thorough attention to every aspect of the show. Dissolution of societal barriers to the free expression of identity is central to queer discourse and queer existence Whether it s through petitioned repealing of unjust laws or Pride parades or bringing up our queerness in daily conversation breaking down those norms that would otherwise conceal us is part of our everyday lives In public or in secret our mere existence requires us to celebrate our own beauty for its own sake or else no one will ever see us and love us for what we truly are. Of course in the context of Hannibal the identity constrained revolves around serial killing Around violence and fear and transgression but violence and fear and transgression have always been synonymous with queerness in mainstream media A quick glance at the TV Tropes page for Bury Your Gays which lists only the major pieces of media across all genres that employ the tradition of killing off queer characters as punishment for their transgressions confirms that The violence and fear and thus queerness in Hannibal are presented as artwork though They are agonizingly beautiful disgusting but compelling in such a way that we can t bear to look away and aren t allowed to for a second as the camera lingers on intimate shots of viscera According to the principles of aestheticism because of this inherent beauty the horrors of the series are not subject to moral judgment Through aesthetic philosophy Hannibal subverts the trope of the queer coded villain Fuller elevates villainy and by proxy queerness safely above petty moral judgment through the art it creates In no way are aestheticism and queerness opposed in this text they are aligned and intertwined Aestheticism is used to symbolically support and in some ways make morally safe the queerness of its characters. No I m not done with it either But I am done for today since I don t want to subject y all to a few thousand words of my ranting on what is supposed to be something akin to a review. The long and short of it is this book contains some compelling analysis and it is painfully apparent that Klock only included Homosexuality in the title to sell copies to queer fans of the show he goes out of his way to make explicitly clear the fact that he disagrees that queer theory is in any way applicable to Hannibal While it is worth reading I don t recommend paying for this book if you don t have to Support your local library instead 9781498548496

Aestheticism, Evil, Homosexuality, and Hannibal: If Oscar Wilde Ate People By Geoff Klock

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While I enjoyed the text the book really could have used an edit There were various small errors the most distracting of which was the frequent misspelling of characters names there are whole passages where Reba becomes Rita for example 9781498548496 this was so far up its own ass lmao parts of it were interesting but why did it it have to be like hannibal is the antidote to wokeismat any rate i got some choice quotes for my thesis so three stars for that i guess 9781498548496 was hannibal ever that deep well not really but sadly i get it so 9781498548496 homeboy went on a bit and some of his takes on homosexuality lesbianism specifically wereinteresting but its some funky reading if u like Hannibal 9781498548496 In late 19 th century England Oscar Wilde popularized aestheticism also known as art for art s sake the idea that art that beauty should not be a vehicle for morality or truth but an end in and of itself Rothko and Jackson Pollock enthroned the idea creating paintings that are barely graded panels of color or wild splashes Today pop culture is aestheticism s true heir from the perfect charismatic emptiness of Ocean s Eleven to the hyper choreographed essentially balletic movements in the best martial arts movies But aestheticism has a dark core one that Social Justice Activists are now gathering to combat revealing the damaging ideology reflected in or concealed by our most beloved pop culture icons Taking Bryan Fuller s television version of Hannibal The Cannibal Lecter as its main text and taking i ek style illustrative detours into Malcolm in the Middle Dark Knight Rises Harry Potter Interview with a Vampire Dexter and this book marshals Walter Pater Camille Paglia Nietzsche the Marquis de Sade Kant and Plato as well as Dante Shakespeare Milton Blake Baudelaire Beckett Wallace Stevens and David Mamet to argue that Fuller s show is a deceptively brilliant advance of aestheticism both in form and content one that investigates how deeply art for art s sake and those of us who consciously or unconsciously worship at its teat are necessarily entwined with evil Aestheticism Evil Homosexuality and Hannibal If Oscar Wilde Ate People.

. Suffice it to say I didn t waste my money on this book and I still feel cheated, Please note this isn t a Serious Academic Review and I m a bit rude in it This is a personal blog What you see is what you get. I wish he had stuck to his close reading and spared us all what comes next: Do you see See See how easy it is to form a thesis statement about aesthetic philosophy and conventional morality in Hannibal without homophobic allusions Yes I m mad about this.Also it has the best epigraph.Let s start with the basics.If you aren t familiar with academic writing a.k