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A case for kitsch

Maja Tabea Jerrentrup1*
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1 Department of Media and Culture, Faculty of Interdisciplinary Studies, University Landshut, Landshut, Bavaria, Germany
AC 2024, 2(3), 2990 https://doi.org/10.36922/ac.2990
Submitted: 21 February 2024 | Accepted: 8 April 2024 | Published: 19 August 2024
© 2024 by the Author(s). This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution -Noncommercial 4.0 International License (CC-by the license) ( https://creativecommons.org/licenses/by-nc/4.0/ )
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Abstract

Kitsch and art are often seen as opposites. However, by showing culturally different perspectives on the phenomenon of kitsch, the term itself can be revealed as undefinable and ethnocentric. After looking at the common definition of kitsch and its vague distinction from art, kitsch is considered through the lens of the centuries-old South Asian rasa theory, which places emotion at the center. The postmodern perspective, in turn, brings in self-reflexivity and irony. Both perspectives show that demarcation between art and kitsch is not useful and fails to acknowledge the agency of the recipient. Several psychological functions of kitsch are identified: on an indivdual level, the devotion to feelings play a role, as they can promot psychological well-being. Further, kitsch enables self-reflection, as the choice of perspective lies with the active recipient. In addition, kitsch facilitates a sense of community in a special way and also enables less privileged people to access the art.

Keywords
Kitsch
Art
Rasa theory
Postmodernism
Funding
None.
Conflict of interest
The author declares no conflicts of interest.
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Arts & Communication, Electronic ISSN: 2972-4090 Published by AccScience Publishing
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