Philosophy Today 46 (4):429-43 (2002)
AbstractBoth Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is in fact antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline.
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Citations of this work
Abjection and the Constitutive Nature of Difference: Class Mourning in Margaret's Museum_ and Legitimating Myths of Innocence in _Casablanca.Tina Chanter - 2006 - Hypatia 21 (3):86 - 106.
Abjection and the Constitutive Nature of Difference: Class Mourning in Margaret's Museum_ and Legitimating Myths of Innocence in _Casablanca.Tina Chanter - 2006 - Hypatia 21 (3):86-106.