Cover: Theory of the Gimmick: Aesthetic Judgment and Capitalist Form, from Harvard University PressCover: Theory of the Gimmick in HARDCOVER

Theory of the Gimmick

Aesthetic Judgment and Capitalist Form

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Product Details

HARDCOVER

$36.00 • £28.95 • €32.50

ISBN 9780674984547

Publication Date: 06/16/2020

Academic Trade

416 pages

6-1/8 x 9-1/4 inches

38 photos, 4 illus.

Belknap Press

World

“Makes the case that the gimmick…is of tremendous critical value…Lies somewhere between critical theory and Sontag’s best work.”—Los Angeles Review of Books

“Ngai exposes capitalism’s tricks in her mind-blowing study of the time- and labor-saving devices we call gimmicks.”—New Statesman

“One of the most creative humanities scholars working today…My god, it’s so good.”—Literary Hub

“Ngai is a keen analyst of overlooked or denigrated categories in art and life…Highly original.”—4Columns

“It is undeniable that part of what makes Ngai’s analyses of aesthetic categories so appealing…is simply her capacity to speak about them brilliantly.”—Bookforum

“A page turner.”—American Literary History

Repulsive and yet strangely attractive, the gimmick is a form that can be found virtually everywhere in capitalism. It comes in many guises: a musical hook, a financial strategy, a striptease, a novel of ideas. Above all, acclaimed theorist Sianne Ngai argues, the gimmick strikes us both as working too little (a labor-saving trick) and as working too hard (a strained effort to get our attention).

Focusing on this connection to work, Ngai draws a line from gimmicks to political economy. When we call something a gimmick, we are registering uncertainties about value bound to labor and time—misgivings that indicate broader anxieties about the measurement of wealth in capitalism. With wit and critical precision, Ngai explores the extravagantly impoverished gimmick across a range of examples: the fiction of Thomas Mann, Helen DeWitt, and Henry James; photographs by Torbjørn Rødland; the video art of Stan Douglas; the theoretical writings of Stanley Cavell and Theodor Adorno. Despite its status as cheap and compromised, the gimmick emerges as a surprisingly powerful tool in this formidable contribution to aesthetic theory.

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