Talk:Roger Kimball

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“Kitsch lives with one foot in the realm of aesthetics and another foot in the realm of ethics.” ― Roger Kimball

“Kitsch is a sentimentalization of reality in response to cultural failure. The greater the failure, the more malignant the sentimentalization.” ― Roger Kimball

“Beauty is a fragile and vulnerable quality, and moreover one that is difficult to achieve; ugliness, by contrast, is unbreakable and invulnerable, and very easy to achieve.” ― Roger Kimball

“Civilization is an achievement not a gift; it is always besieged, must constantly be defended, and once lost, is immeasurably difficult to reclaim. We see the results of the assaults against freedom all around us.” ― Roger Kimball

“The sentimentality of kitsch is a sign of its falseness. But it is also a sign of its extravagance. Unanchored to reality, sentimentality is naturally unbounded. Kitsch is a response to a failure or disintegration of cultural values. When the world no longer speaks meaningfully to us, we shout into the void and pretend the echoes come to us from on high. The grandiosity of kitsch is in proportion to the existential poverty out of which it arose. In this context, it is worth noting a limitation of that dictionary definition of kitsch. The sentimentality of kitsch can be “sweet,” but it can also be sour, malignant.” ― Roger Kimball

“One dominant response to the Great War was “disillusion” and a repudiation of principles named by such lofty abstractions as Honor, Patriotism, Virtue, and Beauty. It is easy to find examples of that solvent at work. But in another sense, the response to the war, especially on the continent, and most particularly in Germany, was just the opposite: it was what we might call the re-enchantment, the re-illusioning, of the world by means of a wholesale embrace of empty abstractions. The re-enchantment was malign, to be sure, but it was also thoroughgoing. Nazism was the most poisonous effort.It was, as [Modris] Eksteins puts it, “an attempt to lie beautifully to the German nation and to the world.” This is where kitsch comes in.” ― Roger Kimball

“In a remarkable book called Rites of Spring: The Great War and the Birth of the Modern Age, the historian Modris Eksteins anatomizes the metabolism of the sentimentality that underwrites Keynes’s embrace of guilt as an instrument of policy. Eksteins shows how sentimentality and a species of extravagant mythmaking mark the points of contact between avant-garde culture and burgeoning totalitarianism. This was especially true in Germany, the country that had advanced the radical program of the avant-garde most enthusiastically. England, by contrast, was a conservative power. Where Germany started the war to transform the world, England fought the war to preserve a world and the culture that defined it. A key difference lies in the aestheticization of life: treating life, that is to say, as if it were a work of art devoid of human reality. On the continent, as the historian Carl Schorske put it in his classic study offin-de-siècle Vienna, “the usual moralistic culture of the European bourgeoisie was. . . both overlaid and undermined by an amoral Gef ühlskultur [sentimental culture].” This revolution in sensibility amounted to a crisis of morality—what the novelist Hermann Broch called a “value vacuum”—that quickly precipitated a crisis in liberal cultural and political life. “Narcissism and a hypertrophy of the life of feeling were the consequence,” Schorske wrote.” ― Roger Kimball Biohistorian15 (talk) 08:04, 16 April 2024 (UTC)