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Hasselgren, Ingeborg.Pdf A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature:................................................................... UNIVERSITY OF SUSSEX INGEBORG HASSELGREN PHD IN MEDIA AND CULTURAL STUDIES CUTE AFFECTIVISM: RADICAL USES OF CUTENESS AFFECT AMONG ACTIVISTS AND ARTISTS SUMMARY This thesis approaches cuteness as an aesthetic and affective genre which inspires intense feelings of softness and kindness, as well as aggression and possessiveness. It investigates the affective properties and uses of cuteness, the embodied experiences of interacting with cute animals and objects, along with the feelings of performing cuteness. Contrary to earlier research, which tends to discard cuteness as meaningless, demeaning and manipulative, this research shows how it can also function as radical, empowering tool for political activists and artists. Of particular interest is the political and resistive uses of cuteness, analyzed in three case studies. The ethnographic materials are collected on site in Sweden and in the UK, through a "mobile ethnography". This consists of shorter fieldworks centered on specific events; the Internet Cat Video Festival; Cuteness Overload - a feminist performance art project; and two cute-themed night clubs held at a leftist culture centre. The fieldwork emphasized multisensorial experiences of cuteness, focussed on participant observations along with interviews, focus groups and limited textual analysis. Drawing on affect theory, it understands cuteness as a relational category, emerging between subjects and/or objects. Of specific interest is the queering properties of cuteness functioning on several levels. It inspires radically lateral relationships between oppressed subjects; helps create safe utopian spaces; and lastly, it opens up new ways to experience and relate to one’s own body. However, cuteness, like all aesthetic genres, is subject to the politics of taste. Not all cuteness production or consumption is given the same recognition. There exits then, a hierarchy of cuteness wherein some producers/consumers, and some expressions of cuteness, are more well-regarded than others. Ultimately, the thesis concludes, cuteness has the potential for radical transformation, but as it exists on an uneven playing field, this potential cannot be readily unlocked by everyone, at least not to the same degree. Cute Affectivism - radical uses of the cuteness affect among activists and artists Ingeborg Hasselgren University of Sussex, September 2019. Cover art: Elinor Quittner, 2019. Used with permission. Table of Contents Chapter 1: Introduction ................................................................................................................ 1 1.1. Aim ..................................................................................................................................... 5 1.2. Research Questions ........................................................................................................... 8 1.3. Disposition ......................................................................................................................... 8 Chapter 2: Literature Review ..................................................................................................... 10 2.1. The Concept of Cuteness ................................................................................................. 11 2.2. Relational Models: Sadism and Playfulness ..................................................................... 14 2.3. Pets, Toys, and Safe Spaces ............................................................................................. 18 2.4. The Cuteness Response and Product Design ................................................................... 21 2.5. Cultural Dependency........................................................................................................ 25 2.6. The Cultural-linguistic Development of Cuteness in Three Languages ........................... 26 2.6.1. The English-American Etymology of Cuteness .......................................................... 26 2.6.2. Cuteness in Swedish .................................................................................................. 27 2.6.3. Kawaii ........................................................................................................................ 28 2.7. Cuteness and Kitsch, Prettiness and Camp ...................................................................... 30 2.8. Of Rainbows, Sparkles and the Colour Pink ..................................................................... 36 Chapter 3: Theoretical Framework – Affect and the Cute Relationship .................................. 39 3.1. Cuteness as Trans- and Post-human ................................................................................ 41 3.2. Synaesthesia and Affect ................................................................................................... 45 3.3. The Nature of Affect ........................................................................................................ 45 3.4. Body Genres and the Cute ............................................................................................... 47 3.5. The Monstrous Cute: Disgust and Abjection ................................................................... 49 3.6. A Model of Cuteness ........................................................................................................ 50 3.7. Summary .......................................................................................................................... 52 Chapter 4: Methodology ............................................................................................................ 53 4.1. Mobile Ethnographies - Delimiting the Field ................................................................... 53 4.1.1. The Digital as Part of the Field .................................................................................. 56 4.1.2. Internet as Network and Culture .............................................................................. 57 4.2. Case Studies: selection and delimitation ......................................................................... 58 4.2.1. Cuteness Overload (Extremt Gulligt): multiple locations in Sweden ........................ 61 4.2.2. Cyklopen: a cute utopia ............................................................................................ 62 4.2.3. Internet Cat Video Festival Stockholm and Glasgow ................................................ 64 4.3. Ethnography and Affect ................................................................................................... 65 4.4. Interviews and Recruitment ............................................................................................ 65 4.4.1. Snowball Recruitment ............................................................................................... 66 4.4.2. Semi-structured Interviews ....................................................................................... 68 4.4.3. Focus Group and Group Interviews ......................................................................... 72 4.5. Participation and Participant-Observation ...................................................................... 74 4.6. The Researcher Role - Self-Reflexivity ............................................................................. 77 4.6.1. Complications with being a (Feminist) Researcher ................................................... 77 4.6.2. Autoethnography ...................................................................................................... 80 4.6.3. Partial Knowledge and Feminist Positioning ............................................................. 81 4.7. Ethics ................................................................................................................................ 82 4.7.1. Confidentiality ........................................................................................................... 82 4.7.2. Online Ethics ............................................................................................................. 83 4.8. Methodology: Concluding remarks .................................................................................. 84 Chapter 5: Case Study - Cute Cabbage Worms .......................................................................... 86 5.1. Cute Subjectivity? ............................................................................................................ 89 5.2. ÖFA and Extremt Gulligt: cute, feminist performances ................................................... 89 5.2.1. Danceoke .................................................................................................................
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