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|a Miklitsch, Robert,
|d 1953-
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|a From Hegel to Madonna :
|b towards a general economy of "commodity fetishism" /
|c Robert Miklitsch.
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| 264 |
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1 |
|a Albany :
|b State University of New York Press,
|c [1998]
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| 264 |
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4 |
|c ©1998
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| 300 |
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|a xiv, 224 pages :
|b illustrations ;
|c 24 cm.
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| 336 |
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|a text
|b txt
|2 rdacontent
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|a unmediated
|b n
|2 rdamedia
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|a volume
|b nc
|2 rdacarrier
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|a SUNY series in postmodern culture
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|a Includes bibliographical references (pages 189-211) and index.
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|t Excursion: Triptik
|g 1 --
|t Introduction: From Adorno to the Clash
|g 9 --
|t "Into the Groove": Dance, Distraction, Reproduction
|g 12 --
|t The Body in Adorno, Adorno's Body
|g 14 --
|t The Body in Dance
|g 16 --
|t After Hegel: From Adorno to Barthes
|g 18 --
|t General Economics
|g 20 --
|t The Work of Affirmation
|g 23 --
|t Psycho-Marxism
|g 25 --
|t Vox Pop Theory
|g 28 --
|g Part 1
|t From Negation to Affirmation
|g 37 --
|t Working in and for the Negative: On Hegel's Dialectic
|g 37 --
|t Late Hegelianism: On Adorno's Negative Dialectics
|g 40 --
|t Affirming Affirmation: On Nietzsche and Deleuze and Guattari
|g 49 --
|t Transit: From Negation/Affirmation to Critical Affirmation
|g 57 --
|g Part 2
|t The Commodity-Body-Sign
|g 61 --
|t Turn: From "Affirmative Culture" to the Hysteria of Castration
|g 61 --
|t Freud, Marx, Baudrillard, or That "Surplus" Which Is Sign-Value
|g 64 --
|t Commodity-as-Art, Art-as-Commodity: Warhol's Coca-Cola Bottles, Shoes and Soup Cans
|g 69 --
|t Hard-Core Commodity Aesthetics: Warhol's Sticky Fingers and the Popular-Cultural Phallus
|g 72 --
|t Marx after Baudrillard: The Commodity-Body-Sign
|g 78 --
|t Consumption Redux: Cultural Populism, Consummativity, and the Consumptive "Beast of Burden"
|g 81 --
|t Marx avec Duchamp: Socialized Consumption and De-Commodification
|g 85 --
|t Return: Contradiction, Circulation, and the Production of Sign-Value
|g 88 --
|t Transit: (M)TV, the Art-Commodity in an Age of Electronic Reproduction
|g 97 --
|g Part 3
|t The Case of "Madonna Studies"
|g 99 --
|t Corpus Delicti: The Rise of Madonna Studies
|g 99 --
|t Madonna Overdrive: The Star Commodity-Body-Sign
|g 107 --
|t Body of Evidence: The Fatality of Madonna Studies
|g 122.
|
| 520 |
|
|
|a Moves from the discourses of dialectical negation to cultural-populist affirmation -- that is, from Hegel to Madonna Studies -- in order to envision a mode of critique that can persuasively describe and explain the cultural contradictions of late capitalism.
|
| 520 |
8 |
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|a From Hegel to Madonna presents a genealogical survey of the discourses of negation and affirmation associated with the work of Hegel, Adorno, Deleuze, and Guattari; then, rotating from the philosophical to the political-economic axis, turns to the problem of a general economy of "commodity-fetishism". Drawing on the work of Marx and Freud, Miklitsch mobilizes a new, renewed understanding of "commodity fetishism' -- what he calls the commodity-body-sign -- in order to examine received notions of consumption and commodification. The aim is to envision a dialectical mode of critique, at once critical and affirmative, that can account for the cultural contradictions of late capitalism. The author also analyzes the phenomenon of Madonna Studies, reading the interest in the pop star as a sign of the academic times, a symptomatic figure not only of cultural studies in all its celebratory, cultural-populist excess but of a critical discourse responsive to postmodern culture in all its politically complex mutability.
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