Autonomy

Brown Nicholas Brown

Description

In Autonomy Nicholas Brown theorizes the historical and theoretical argument for art's autonomy from its acknowledged character as a commodity. Refusing the position that the distinction between art and the commodity has collapsed, Brown demonstrates how art can, in confronting its material determinations, suspend the logic of capital by demanding interpretive attention. He applies his readings of Marx, Hegel, Adorno, and Jameson to a range of literature, photography, music, television, and sculpture, from Cindy Sherman's photography and the novels of Ben Lerner and Jennifer Egan to The Wire and the music of the White Stripes. He demonstrates that through their attention and commitment to form, such artists turn aside the determination posed by the demand of the market, thereby defeating the foreclosure of meaning entailed in commodification. In so doing, he offers a new theory of art that prompts a rethinking of the relationship between art, critical theory, and capitalism.

Sujets

• Literary theory

Informations

• Publié par: Duke University Press
• Date de parution: 28 février 2019
• Nombre de lectures: 0
• EAN13: 9781478002673
• Langue: English
• Poids de l'ouvrage: 10 Mo

Extrait

A U T O N O M Y

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é Śôçà Ôôô ô Ā

ûéÇààŝ

NICHOLAS BROWN

duke unIversIty press Durham and London  2019

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© 2019 ûé Uéŝ éŝŝ Ā ŝ éŝéé é  é Ué Śàéŝ ô Āéçà ô àç-éé àé ∞ éŝé  àé àûç éŝé  Śàô  éŝçéŝé ûŝ Śéçéŝ

à ô Çôéŝŝ Çààô--ûçàô àà àéŝ: ô, çôàŝ, [àé] àûô. é: Āûôô : é ŝôçà ôôô ô à ûé çààŝ / çôàŝ ô. éŝçô: ûà : ûé Uéŝ éŝŝ, 2019. | îçûéŝ ôàçà éééçéŝ à é. îéiéŝ: Lccn 2018037347 () Lccn 2018047133 (éôô) Isbn 9781478002673 (éôô) Isbn 9781478001249 (àçôé : à. àé) Isbn 9781478001591 (. : à. àé) Śûéçŝ: Lcsh: Ā, ôé—21ŝ çéû— Éçôôçàŝéçŝ.|Āàûŝéŝŝ—Hŝô— 21ŝ çéû. | Ā à ŝôçé—Hŝô—21ŝ çéû. | Āŝ—ôçà àŝéçŝ—Hŝô—21ŝ çéû. Çàŝŝiçàô: Lcc n8600 (éôô) | Lcc n8600 .b76 2019 () | ddc 709.05—ç23 Lc éçô àààé à ŝ://çç.ôç.ô/2018037347

Çôé à: ôà ŝçô,Chane, 2016. àé ç-. 109×85 ç. Çôûéŝ ô é àŝ à Ké’ŝ é.

For Kevin Floyd.

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Contents

Acknowledgments

INTRODUCTION

On Art and the Commodity Form

1 as Film and Film as Photography Photography

2 Novel and the Ruse of the Work The

3 and Affect in Music Citation

4  Modernism on TV

EPILOGUE  Taking Sides

Notes

Bibliography

215 Index

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Acknowledgments

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