In other respects, it is a little too gorgeous for its own good, aestheticising
crime scene tape, blood splatter, shell casings, abandoned houses, the hand of a corpse in the snow.
Smentek is especially revealing about the Mariette family business and its formative importance for Pierre-Jean's later role in the process of aestheticising
objects and events to such a degree that they no longer point to that world, but to another (better) one" (193).
the secret, rendering it as a visual, if abstract, phenomenon, the photographs of Limit Telephotography both resist a purely hermeneutic approach to secrets and register distrust in the state's monopoly over the organisation, presentation and uses of the secret and secrecy.
Indeed, Malu Halasa 's contributing essay is on "Oppressive Beauty: Against Aestheticising
Antonioni's street-walker stands between these two poles--she uses the streets to expose contemporary culture, as well as spatially expressed social conventions and power relations but, just like the flaneur's aestheticising
tendency prevents his disaffection from becoming political (Fleischer 14), so does Lidia's disenchanted observation from the margins exclude rebellious opposition.
Adam Smith and Friedrich Schiller: The Luxury of Sensibility and the Aestheticising
Pham Duy's aestheticising
of his experiences, including his sexual encounters, occurs, as we have seen, in his songs, not in his prose.
Lulie, who is reduced to an item of exoticism, can yield to Campbell's aestheticising
, creative gaze as she is assumed to be a neutral, blank page of territory waiting for inscription.
This metalevel of a modally and dialectically relativised potential of aesthetic perception allows for a reciprocal aestheticising
perception: everybody sees something only "as something".
In contrast, say, to the character of Sophie in Ghosted, who takes extreme close-ups of Ai-Ling that she then turns into a public installation despite the intimate, personal settings in which they were shot, Ottinger's camera "observes, recording what is there for an ethnographer rather than appropriating and aestheticising
'orientalism' for a lesbian imaginary" (Sieglohr 196 on Johanna d'Arc of Mongolia).
Sinclair's prose is driven by a dual purpose; to register stylistically the ultimately ungraspable complexities of London (following the implications James reads in Ford Madox Ford, that "writers hoping to depict [London] in its entirety will themselves be unable to find a prose style adequate to the variety of scenes they perceive" ), while maintaining a parodic self-reflexivity that avoids aestheticising