The Spell of Capital.

The Spell of Capital.

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Bibliographic Details
Imprint:[Place of publication not identified] : Amsterdam University Press, 2017.
Description:1 online resource
Language:English
Subject:
Reification.
Communism and culture.
Communist aesthetics.
Philosophy, Marxist.
Communism and culture
Communist aesthetics
Philosophy, Marxist
Reification
Format: E-Resource Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/13479259
Hidden Bibliographic Details
ISBN:9789089648518
9089648518
Notes:Undetermined.
Summary:This book explores the tradition, impact, and contemporary relevance of two key ideas from Western Marxism: Georg Lukács's concept of reification, in which social aspects of humanity are viewed in objectified terms, and Guy Debord's concept of the spectacle, where the world is packaged and presented to consumers in uniquely mediated ways. Bringing the original, yet now often forgotten, theoretical contexts for these terms back to the fore, Johan Hartle and Samir Gandesha offer a new look at the importance of Western Marxism from its early days to the present moment-and reveal why Marxist cultural critique must continue to play a vital role in any serious sociological analysis of contemporary society.
Standard no.:10.5117/9789089648518
Table of Contents:
  • Introduction: Reification and Spectacle: The Timeliness of Western Marxism
  • 1. Yiwu: The Cryptogram of the Spectacle
  • 2. The Sequence (1867-1923-1967) and the Parcours
  • Bibliography
  • 1. Reification as Structural Depoliticization: The Political Ontology of Lukács and Debord
  • 1. Mistaking the Social: Fetishism and Social Facts
  • 2. Commodity Fetishism, Reification, Spectacle
  • 3. Aesthetico-Political Interventions, or, How to Overcome Reification?
  • Bibliography
  • 2. 'Reification' between Autonomy and Authenticity: Adorno on Musical Experience
  • 1. Two Models of Reification
  • 2. Reification and Normativity
  • 3. Musical Experience beyond Autonomy and Authenticity
  • Bibliography
  • 3. 'All Reification Is a Forgetting': Benjamin, Adorno, and the Dialectic of Reification
  • 1. 'All Reification Is a Forgetting'
  • 2. Reification and Allegory
  • 3. The Collector
  • 4. Adorno's Dialectic of Reification
  • 5. Conclusion
  • Bibliography
  • 4. Utopian Interiors: The Art of Situationist Urbanism from Reification to Play
  • Bibliography
  • 5. 'The Brilliance of Invisibility': Tracking the Body in the Society of the Spectacle
  • 1. Coordinating the Society of the Spectacle: Debord and Lukács
  • 2. Interception/Identification/Dissolution
  • 3. Suspension/Attention/Dissolution
  • 4. From the Logic of Dissolution to the Dynamic of Identification
  • 5. Conclusion
  • Bibliography
  • 6. Art Criticism in the Society of the Spectacle: The Case of October
  • 1. Buchloh's Spectacle
  • 2. Use Value versus Exchange Value
  • 3. Counter-spectacular Memory
  • Bibliography
  • 7. Spectacle and Politics: Is There a Political Reality in the Spectacle of Society?
  • 1. Spectacle and Post-democracy
  • 2. The Dilemma of the Spectacle
  • 3. Spectacle as the Condition of Politics
  • 4. In Praise of Theatre
  • Bibliography
  • 8. Reification, Sexual Objectification, and Feminist Activism
  • 1. Lukács and Reification
  • 2. Sexual Objectification and Reification: Feminist Problems
  • 3. Performative Agency and Posthuman Feminism
  • Bibliography
  • 9. Reified Life: Vitalism, Environmentalism, and Reification in Guy Debord's The Society of the Spectacle and A Sick Planet
  • 1. Dialectical Vitalism: The Society of the Spectacle
  • 2. Time's Crooked Arrow
  • 3. A Sick Planet: Life as Revolutionary Wildcard
  • Bibliography
  • 10. Images of Capital: An Interview with Zachary Formwalt
  • Bibliography
  • Notes
  • Index
  • List of figures
  • Figure 1. Trading stalls of Yiwu in the People's Republic of China. Photo
  • Figure 4.1. Still from Guy Debord's film The Passage of a Few People in a Rather Brief Moment in Time (1959) showing Asger Jorn (second from left, facing viewer), Guy Debord (on far right, holding cigarette), and others seated at a table
  • Figure 4.2. Constant Nieuwenhuys, New Babylon. Still from DVD [capture from Maarten Schmidt and Thomas Doebele, Constant, Avant le Départ, 2006]
  • Figure 4.3. Onstant Nieuwenhuys, New Babylon. Still from DVD [capture from Maarten Schmidt and Thomas Doebele, Constant, Avant le Départ, 2006]
  • Figure 4.4. Constant Nieuwenhuys, New Babylon. Cover of Opus International 27 (September 1971)
  • Figure 5.1. Edouard Manet's Chemin de Fer, 1873
  • Figure 5.2. Georges Seurat's Parade de Cirque, 1887-1888
  • Figure 6.1. Dan Graham, Homes for America, 1989. Photo offset reproduction of layout for magazine article (Arts Magazine, December 1966-January 1967). Courtesy of the artist and Marian Goodman Gallery, Paris

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