Rhetorical Analysis of Kim Kierkegaardashian
I drew a lucky card in a digital rhetoric course I’m taking– we’ve been discussing the process of applying rhetorical analysis to digital productions and one of the options was one of my favorite Twitter producers wooooooo.
Categories– Aim, Audience, Affect.
So, Kim Kierkegaardashian’s bio is apparently transparent– “The philosophy of Søren Kierkegaard mashed with the tweets and observations of Kim Kardashian”– but this belies the fact that this is a complicated amalgam of
a) a philosopher existentially positioning and defining how the self works RE to all that alienation in bewildering universe stuff (fun!)
b) a pop-culture-socialite-reality star–existence whose public presentation pretty much dismisses existential positioning in favor of embracing a constant shifting of roles to maintain fame and pop-culture relevance (not as fun!)
Søren Kierkegaard is a philosopher trying to discover how we exist as individuals; Kim Kardashian is an aggregate of factors, shaping and shaped by cultural fixations. Kim Kierkegaardashian, then, is a consummately metamodern project– equal parts sincere analysis of our condition via juxtaposition and ironic postmodern disinterest.
If that sounds overtly complicated, keep in mind that Søren was a Christian who didn’t go to church and that Kim is married to a guy with an album called Yeezus.
Prime example– a little inditement against capitalism, generated via an exhortation to figure out where your identity’s at alongside an invitation to be a consumer. Aim? A little bit to make us think, a little bit to make fun, and a lot to entertain. Which brings us to Audience.
In the least callous way, this content isn’t designed for the general consumer demographic of the Kim Kardashian brand. Besides cultural theory people, her popularity is predicated largely on passive consumption of her brand. On the flip side Kim Kierkegaardashian isn’t really designed for serious devotees of Kierkegaard, as those are generally a little too busy delving into the process of loving, fearing and trembling, or being snarky towards institutionalized religion to live that Twitter life. It’s uniquely catering to audiences familiar enough with existentialism to get the critique, but pop-culture aware enough to find it funny.
As evidenced in the below tweet, it’s generally fairly ironically judgmental of consumer materialism. In that respect, it again isn’t really designed for the Kierkegaard people– the whole thing is fairly Neomarxist. You can totally integrate some of Kierkegaard into Marxist thought, but he’s not on that spectrum. So, people with an equal investment in being entrained as voting for Bernie, your average seventeen to thirty-seven year old humanities bent person who may be the beneficiary of a lot of education and a lot of Netflix, for fans of Slavok Zizek, Derrida excerpts, Calvin & Hobbes, and (if you saw the video), Fall Out Boy, that crowd is going to be all about that Kim Kierkegaardashian life.
Mostly entertainment, if we’re being real with ourselves. But this isn’t to draw the Art vs Entertainment, DFW-style spectrum analysis: while Kim Kierkegaardashian isn’t art, it is an implicit societal critique couched in a comedic dialectic set up between existentialism’s granddad and consumer based pop-culture’s embodiment. The affect is that we, the audience, are entertained, but that we are likewise reminded of the positions that we probably basically already say we hold– that is, the anti-consumer message of Kim Kierkegaardashian.
And this tweet is basically In Persona Christi of the irony present in a anti-consumer message framed in the Kim Kardashian context. The critique is there, but it’s the swing back into postmodernism, where we’re pretty endlessly trapped in being able to reference to Kim Kardashian. We know who she is and we’re pretty clearly interpolated into a cultural state where a comedy account criticizing said culture makes recourse to the thing it critiques in order to enact its critique. The affect doesn’t exist outside the irony– and, ultimately, this realization is the most integral affect of Kim Kierkegaardashian.