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Journal articles on the topic 'Fetish objects'
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1
Braune, Sean. "Fetish-Oriented Ontology." Open Philosophy 3, no. 1 (July 18, 2020): 298–313. http://dx.doi.org/10.1515/opphil-2020-0101.
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AbstractIn her essay, “After de Brosses” (2017), Rosalind C. Morris briefly considers the historical importance of the concept of the fetish on the relatively recent movements of new materialism, but she does not engage with Speculative Realism and Object-Oriented Ontology. This essay addresses this gap and focuses on the influence of the fetish on Speculative Realism and Object-Oriented Ontology by focusing on Graham Harman’s conception of objects and Quentin Meillassoux’s theory of arche-fossils. In short, I am offering a posthumanist theorization of the fetish in order to argue that Object-Oriented Ontology can be considered, at points, to be a fetish-oriented ontology and that this notion of the fetish allows us to think about philosophical considerations of objects in a new light.
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Dant, Tim. "Fetishism and the Social Value of Objects." Sociological Review 44, no. 3 (August 1996): 495–516. http://dx.doi.org/10.1111/j.1467-954x.1996.tb00434.x.
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The idea of the fetish has a particular presence in the writings of both Marx and Freud. It implies for these two theorists of the social, a particular form of relation between human beings and objects. In the work of both, the idea of the fetish involves attributing properties to objects that they do not ‘really’ have and that should correctly be recognised as human. While Marx's account of fetishism addresses the exchange-value of commodities at the level of the economic relations of production, it fails to deal in any detail with the use-value or consumption of commodities. In contrast Freud's concept of the fetish as a desired substitute for a suitable sex object explores how objects are desired and consumed. Drawing on both Marx and Freud, Baudrillard breaks with their analyses of fetishism as demonstrating a human relation with unreal objects. He explores the creation of value in objects through the social exchange of sign values, showing how objects are fetishised in ostentation. This paper argues that while Baudrillard breaks with the realism characteristic of Marx's and Freud's analyses of fetishism, he does not go far enough in describing the social and discursive practices in which objects are used and sometimes transformed into fetishes. It is proposed that the fetishisation of objects involves an overdetermination of their social value through a discursive negotiation of the capacities of objects that stimulates fantasy and desire for them.
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Balthazar, Ana Carolina. "Old things with character: The fetishization of objects in Margate, UK." Journal of Material Culture 21, no. 4 (August 20, 2016): 448–64. http://dx.doi.org/10.1177/1359183516662676.
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This article explores the work of fetish in practices of consumption at a charity shop in contemporary Margate (UK). Here fetish relates to a specific semiotic ideology (described by Keane in Christian Moderns: Freedom and Fetish in the Mission Encounter, 2007) that acknowledges the personality and history of objects. More specifically, fetish appears as the material property of old objects ‘with character’ to combine different remnants of the past and allow for or resist multiple meanings and stories. To argue that objects are fetishized in Margate is to say that in this English town we encounter a semiotic ideology that challenges the ‘moral narrative of modernity’ that claims individual freedom and agency.
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Delcea, Cristian, and Dorina EUSEI. "Fetishist disorder." International Journal of Advanced Studies in Sexology 1, no. 2 (December 1, 2019): 73–77. http://dx.doi.org/10.46388/ijass.2019.12.11.123.
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Fetishism, as a technical descriptor of atypical sexual behaviour, was noted in the writings of the well-known nineteenth century French psychologist Alfred Binet (1857–1911) (Binet, 1887) as well as prominent European sexologists Richard von Krafft-Ebing (1840–1902) (Krafft-Ebing, 1886), Havelock Ellis (1859–1939) (Ellis, 1906), and Magnus Hirschfeld (1868– 1935) (Hirschfeld, 1956). In their seminal writings, all of the afore mentioned sexologists used the terms “fetish” and “fetishism” to specifically describe an intense eroticization of either non-living objects and/or specific body parts that were symbolically associated with a person. Fetishes could be non clinical manifestations of a normal spectrum of eroticization or clinical disorders causing significant interpersonal difficulties. Ellis (1906) observed that body secretions or body products could also become fetishist expressions of “erotic symbolism”. Freud (1928) considered both body parts (e.g., the foot) or objects associated with the body (e.g., shoes) as fetish objects. For the purposes of this review, a “broader” historically based core definition for Fetishism will include intense and recurrent sexual arousal to: non-living objects, an exclusive focus on body parts or body products. Keywords: fetishism, Paraphilia, Partialism, DSM-V.
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Hoffmann, Eva. "“Innocent Objects:” Fetishism and Melancholia in Orhan Pamuk’s The Museum of Innocence." Konturen 8 (October 24, 2015): 155. http://dx.doi.org/10.5399/uo/konturen.8.0.3715.
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In this article, I place Orhan Pamuk’s novel The Museum of Innocence into dialogue with Sigmund Freud’s theory of the fetish. As Gerhard Neumann argues, the fetish provides the basic pattern for the modern subject and its experience of self and the world while performing the impossibility of narrating this experience. In a similar vein, the fetishized objects described in the novel and put on display in Pamuk’s actual museum in Istanbul complicate the narrator’s account of a lost love relationship. The fetish objects create an intertwinement of coalescing and contradicting narratives that point to “black melancholia” as a deeply ambiguous feeling in the collective memory of Istanbul and its people.
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MacGaffey, Wyatt. "African Objects and the Idea of Fetish." Res: Anthropology and Aesthetics 25 (March 1994): 123–31. http://dx.doi.org/10.1086/resv25n1ms20166895.
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Rana, Poonam R. L. "Symbolic Values Behind Art in the Animistic Practices among the Tharus of Dang and Deukhuri." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 50–59. http://dx.doi.org/10.3126/sirjana.v7i1.39351.
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The symbolic values behind the art in the animistic practices among the Tharus of Dang and Deukhuri is a paper that deals with various symbolic objects, that are termed as fetish associated with the animistic practices observed by the Tharus of Dang and Deukhuri of Terai Nepal. The objects or the fetish created by them when analyzed through an artistic perspective, seems, to the outsiders or through the ‘Etic Approach’ just a local ethnic crude handicraft. However, when analyzed through the ‘Emic Approach’ these artistic creations or fetish have great symbolic values associated with it. This paper-based on a field survey of the two regions has brought to limelight the symbolic values behind artistic creativity associated with their animistic practices.
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Mitchell, Matthew David. "The Fetish and Intercultural Commerce in Seventeenth-century West Africa." Itinerario 36, no. 1 (April 2012): 7–21. http://dx.doi.org/10.1017/s0165115312000344.
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Fetish. Perhaps few words are more redolent of the negative outlook of “enlightened” Europeans in the eighteenth and nineteenth centuries towards the “superstitions” embraced by the supposedly benighted inhabitants of the Dark Continent of Africa. This intellectual snobbery on the part of such European intellectual luminaries as Hume, Voltaire, Kant, and Marx led to fundamental misunderstandings of the nature of African religious beliefs and practices. In particular, it obscured the ways in which European visitors to the African coast made use of the concept of the fetish for their commercial purposes. In the process, they introduced European ideas about physical objects of supernatural power into the complex of beliefs that Enlightenment thinkers later came to deride as uniquely emblematic of African backwardness. The conception of the fetish as both a European and an African invention re-emerges in reading the documentary evidence left behind by European travellers and traders of the late seventeenth and early eighteenth centuries. These sources present the fetish—and in particular the practice of sealing agreements by swearing oaths on fetish objects—as an intermediary between European and African systems of economic and spiritual value, thus fostering the modicum of trust necessary for trade to proceed.
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Radermacher, Martin. "From ‘Fetish’ to ‘Aura’: The Charisma of Objects?" Journal of Religion in Europe 12, no. 2 (January 24, 2019): 166–90. http://dx.doi.org/10.1163/18748929-01202004.
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In the history of religions, material artifacts have often played an important role as mediations of the ‘sacred.’ They were and are worshipped, venerated, and sometimes destroyed for their assumed supernatural powers. The article reviews theoretical concepts that engage with the charismatic capacities of objects (‘fetish,’ ‘cultic image,’ and ‘aura’) and discusses literature about ‘charismatic objects.’ It deals with the question of what kind of charisma objects may have and suggests that the term ‘charisma,’ when defined in a specific way, is a useful concept to describe and compare specific material objects from different religious traditions. These conceptual and methodological considerations are illustrated by a brief discussion of Christian relic veneration.
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Schneiderman, Leo. "Cynthia Ozick: Diverse Functions of Transitional Objects in Fiction." Imagination, Cognition and Personality 15, no. 3 (March 1996): 207–21. http://dx.doi.org/10.2190/j806-mgyb-cyn1-v4ln.
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The purpose of this article is to examine the role of transitional love objects in the lives of fictional adults, as depicted in the works of Cynthia Ozick. Ozick's protagonists are characterized by their symbiotic attachment to parent figures with whom they are unable to establish empathic and trusting relationships. In lieu of finding nurturance Ozick's fictional characters go in search of idealized love objects in the form of fetishes or idols, i.e., objects seeming to possess magical trustworthiness. Ozick warns against the choice of such narcissistically-determined, idolatrous objects, and extends her caveat even to human love relationships, with the implication that they are likely to prove disappointing. All of Ozick's fictional love objects represent partially differentiated, fetishistic extensions of the lover's self. These objects include a modern-day golem, idols, demons, witches, a tree, a shawl, and even a literary manuscript. Ozick clarifies the distinction between healthy self-love and self-acceptance and total absorption in the fetish as a soothing, symbolic substitute for satisfying unfulfilled developmental needs.
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Campbell, Charles. "Simulation, Fetishism and World Domination." Critical Survey 33, no. 3-4 (September 1, 2021): 16–27. http://dx.doi.org/10.3167/cs.2021.33030404.
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According to Jean Baudrillard, in a totally functional world people become irrational and subjective, given to projecting their fantasies of power into the efficiency of the system, a state of ‘spectacular alienation’. I argue that Americans as a society have accommodated themselves to such a system to the detriment of their ability to make sense in their public discourse. Baudrillard finds pathology in the system of objects as it determines social relations. In one symptom, people may obsess over a fetish object. For American society, the magical mechanical object is the gun. I show evidence for this weapons fetish in American fiction, cinema, television and serious journalism. Then, using Baudrillard and other analysts, I show how the American obsession with the superior functionality of weapons joins its myth of exceptionality and preference for simulation over reality to create a profound American dream state that protects a very deep sleep.
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Kaeppler, Adrienne L., and Jo Anne Van Tilburg. "Carved komari (vulva) stones from Rapa Nui: museum objects, legacy data and contemporary local history." Journal of the Polynesian Society 129, no. 4 (December 2020): 383–406. http://dx.doi.org/10.15286/jps.129.4.383-406.
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The authors examine selected stone objects in the J.L. Young Collection, Bernice P. Bishop Museum, Honolulu. Two were named by Young “Maea Momoa” (ma‘ea momoa; lit. ‘stone for chickens’). One of the ma‘ea momoa is a “pillow stone” (ŋarua) or basaltic beach cobble incised with komari (vulva motifs). The other is a “Bar of stone” lavishly embellished with similar motifs. Six other objects are said to be “fetish stones”. A possible ‘Orongo provenance for the incised “Bar of stone” is raised and tested, and toponymic and linguistic data are offered in support of a new interpretation of the origin of the hakatoro repe ‘elongation of the clitoris’ ritual and the function of one incised “fetish stone” in that process. This research calls attention to the traditional role of women in ‘Orongo ceremonies and employs relatively obscure museum collection objects and their previously overlooked documentation, thus uniting multiple data strands to reveal new details of Rapanui ritual life.
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Whitehead, Amy. "Touching, crafting, knowing." Body and Religion 2, no. 2 (February 12, 2019): 224–44. http://dx.doi.org/10.1558/bar.36491.
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Based on a small ethnographic study at the shrine of the Virgin of Alcala in Andalusia, Spain, this article asserts that 'touch' is not only an intrinsic part of religion, but the principal facilitating medium through which the performances, expressions and relationships with the Virgin, take place. The article uses the relational discourses of animism and the fetish to critically explore the dynamics of touch, focusing primarily on the ways in which powerful religious statues such as the Virgin are creatively forged from raw materials, the gendered ways in which her statue-body is ritually touched, cared for and maintained, and the potentiality of her personhood. Personhood, it is argued, emerges co-creatively between 'persons' (artefact persons and human persons) during moments of active relating that involve touch. It is concluded that 'to fetish' is both to apprehend beloved religious statues with the senses and to be invited into creative religious, relational engagements with so called religious objects. 'To touch' is 'to fetish'.
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Van Damme, Stéphane. "The pillar of metropolitan greatness: The long making of archeological objects in Paris (1711–2001)." History of Science 55, no. 3 (April 11, 2017): 302–35. http://dx.doi.org/10.1177/0073275317698711.
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Over three centuries after the 1711 discovery in the choir of Notre-Dame in Paris of a square-section stone bas-relief (the Pillar of the Boatmen) with depictions of several deities, both Gaulish and Roman, the blocks comprising it were analyzed as a symbol of Parisian power, if not autonomy, vis-à-vis the Roman Empire. Variously considered as local, national, or imperial representations, the blocks were a constant object of admiration, interrogation, and speculation among antiquarians of the Republic of Letters. They were also boundary objects – products of the emergence of a Parisian archeology dated from 1711. If this science reflected the tensions and ambiguities of a local regime of knowledge situated in a national context, it also helped to coordinate archeological work between different institutions and actors. This paper would like to assess the specific role played by the Pillar of the Boatmen as a fetish object in this process. To what extent could an archeological artifact influence this reshaping of urban representation, this change of scales? By following the three-century career of the pillar’s blocks as composite objects, which some have identified as merely stones or a column, it is possible to understand the multiple dimensions that defined the object as archeological – as an artifact that contributed to the relocating of the historical city center – and the multiple approaches that transform existing remains into knowledgeable objects.
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Fromont, Cécile. "Paper, Ink, Vodun, and the Inquisition: Tracing Power, Slavery, and Witchcraft in the Early Modern Portuguese Atlantic." Journal of the American Academy of Religion 88, no. 2 (May 4, 2020): 460–504. http://dx.doi.org/10.1093/jaarel/lfaa020.
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Abstract In 1730, the Inquisition of Lisbon arrested José Francisco Pereira, a man raised in West Africa and enslaved in Brazil then Portugal, who had learned along his transatlantic journeys the art of making amulets known in the eighteenth century Portuguese-speaking world as bolsas de mandinga. Mixing European esoteric material into objects of Afro-Atlantic agency, bolsa-makers such as José Francisco created objects of trustworthy might that brought empowerment and security of body and mind to a diverse clientele. The bolsas, as well as similar empowered objects created in Atlantic Africa reveal the deep and mutually transformative spiritual and material connections that the slave trade engendered between Europeans and Africans in the early modern period. Common concerns produced similar answers, not least newly defined or redefined notions of witchcraft and fetish and, more broadly, conceptions about the nature of power and its multivalent entanglements with the material world.
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Thomas, Suzanne L., Dawn Nafus, and Jamie Sherman. "Algorithms as fetish: Faith and possibility in algorithmic work." Big Data & Society 5, no. 1 (January 2018): 205395171775155. http://dx.doi.org/10.1177/2053951717751552.
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Algorithms are powerful because we invest in them the power to do things. With such promise, they can transform the ordinary, say snapshots along a robotic vacuum cleaner’s route, into something much more, such as a clean home. Echoing David Graeber’s revision of fetishism, we argue that this easy slip from technical capabilities to broader claims betrays not the “magic” of algorithms but rather the dynamics of their exchange. Fetishes are not indicators of false thinking, but social contracts in material form. They mediate emerging distributions of power often too nascent, too slippery or too disconcerting to directly acknowledge. Drawing primarily on 2016 ethnographic research with computer vision professionals, we show how faith in what algorithms can do shapes the social encounters and exchanges of their production. By analyzing algorithms through the lens of fetishism, we can see the social and economic investment in some people’s labor over others. We also see everyday opportunities for social creativity and change. We conclude that what is problematic about algorithms is not their fetishization but instead their stabilization into full-fledged gods and demons – the more deserving objects of critique.
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Malmio, Kristina. "MARX ET CO REVISITED. REPRESENTATIONS OF THE ECONOMY IN RALF ANDTBACKA’S WUNDERKAMMER (2008)." Nordic Journal of Aesthetics 29, no. 60 (November 22, 2020): 72–91. http://dx.doi.org/10.7146/nja.v29i60.122842.
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The present article studies the representation of economy in Wunderkammer (2008), a collection of poetry by Finland-Swedish author Ralf Andtbacka. Going back to the historical form of cabinets of curiosities, Wunderkammer depicts acts of buying, selling, and collecting. By showing the connectivity of objects and their impact on human subjects, Andtbacka actualizes and deconstructs topics originally initiated by Karl Marx, such as value, fetish, commodifica-tion, and alienation. The portrayal of capitalism, both past and pres-ent, in the book is highly ambivalent. On the one hand, collecting functions as a critical, anticapitalistic act. On the other hand, eco-nomic discourse has invaded the text and turned the author into a writing machine powered by the energy of neoliberal labor. Besides an excess of objects, the poems display an overflow of information, a characteristic feature of a postcapitalist economy. As an exam-ple of cognitive mapping, Wunderkammer allegorically portrays humans, objects, and information in the middle of a paradoxical economic transformation.
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Peniche May, Nancy, Lisa DeLance, and Jaime J. Awe. "THE MIDDLE PRECLASSIC FIGURINES FROM CAHAL PECH, BELIZE VALLEY." Ancient Mesoamerica 30, no. 2 (July 13, 2018): 221–34. http://dx.doi.org/10.1017/s0956536118000172.
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AbstractCeramic figurines are ubiquitous throughout the archaeological record of Mesoamerica. These small, handheld objects continue to fascinate archaeologists, and their role in the daily lives of the people who created and used them remains a point of debate in some academic circles. The figurines have been interpreted variously as children's toys, fertility fetish tools, and ritual objects. At the site of Cahal Pech, located in the Belize Valley of west-central Belize, a large assemblage of figurines has been recovered from construction fill dating to the Cunil (1200–900b.c.) and Kanluk ceramic phases (900–350b.c.) of the Preclassic period. In this article, we analyzed the temporal and spatial distribution of these objects in the settlement and conclude that these objects were used in a variety of ritual events. Although they mainly served as venues for invoking ancestors in domestic rituals, their discovery in public spaces suggests diverse social uses. Most importantly, their limited presence in residential and public spaces outside the Plaza B section of the site core during the late facet of the Kanluk phase may indicate that certain rituals were not performed by the entire community.
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MONTEYNE, JOSEPH. "ENVELOPING OBJECTS: ALLEGORY AND COMMODITY FETISH IN WENCESLAUS HOLLAR'S PERSONIFICATIONS OF THE SEASONS AND FASHION STILL LIFES." Art History 29, no. 3 (June 2006): 414–43. http://dx.doi.org/10.1111/j.1467-8365.2006.00508.x.
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Wilkinson, John. "Moreover: Reading Alfred Starr Hamilton." CounterText 7, no. 1 (April 2021): 160–79. http://dx.doi.org/10.3366/count.2021.0223.
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This article addresses the challenge to professionalised practices of reading represented by the oeuvre of Alfred Starr Hamilton (1914–2005), with broader implications for the contested category of Outsider Writing. Drawing on the author's experience, three types of early life encounter with poetry are specified, guided to its objects by cultural and parental authority and later reaction against them: a fetish of the book and representations of the poet, oral pleasure, and the magic of the word as an illimitably productive and plastic material. These are linked to encounter with Hamilton's poetry, at once unrelentingly repetitive, and sponsored and structured by a small seedbank of magic words, occasioning the sudden florescence of beauty. To read Hamilton requires a feline practice of submitting to reverie while registering disturbance and aesthetic shock precisely.
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Penney, Tom. "Bodies under Glass: Gay Dating APPS and the Affect-Image." Media International Australia 153, no. 1 (November 2014): 107–17. http://dx.doi.org/10.1177/1329878x1415300113.
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There is a rise in the popularity of gay dating apps for smartphones that depict bodies under the glass of screens. The application Grindr is one such system, as well as Hornet, Scruff, Jack'd and many others. Recent literature draws attention to how Grindr perpetuates reductive stereotypes fetishised and consumed by a narcissistic homosexual market. Through Gilles Deleuze's concept of affection-image, I think through how images of bodies on these apps are transmitting or receiving affect. I then discuss some of my own artwork in light of this inquiry, in which I particularly consider the role of judgemental swipe-gestures and how they parallel the treatment of individuals' bodies as objects: disposable, manipulable and exchangeable. Through this artwork and its discussion, I aim to extend critical discourse concerning the treatment and reception of other subjects in gay online communities, as well as the examination of bodies, fetish and sexuality by artists of contemporary media more generally.
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Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.
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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.
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Rosenberg, Joed/ana. "The Birth of Theory and the Long Shadow of the Dialectic." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 799–808. http://dx.doi.org/10.1632/pmla.2015.130.3.799.
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Theories, like people, need their fetishes. I'm speaking not of the object fixations of the contemporary humanities but rather of those figures that, while extrinsic to a theory's methodology—even striking a sour or discordant lexical note—come to possess and animate that theory. Such, at least, was true for Marx's Capital, which derives a good deal of its analytic force from the sacramental magnificence of the spirit world. Indeed, the religious language of the fetish—irreducible to the logic of exchange value and the mechanics of equivalence that Capital extrapolates—is the motor of the text. It is so because the language of the fetish lies outside the terms of political economy. The fetish—Capital's indispensable outlier—denaturalizes the banal, violent fungibilities that are the capitalist lifeworld, wreaking its stomach-turning unveilings as if from another planet. Capital would not be Capital without its fetish.
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Ohi, Kevin. "AUTOBIOGRAPHY AND DAVID COPPERFIELD'S TEMPORALITIES OF LOSS." Victorian Literature and Culture 33, no. 2 (August 9, 2005): 435–49. http://dx.doi.org/10.1017/s1060150305050928.
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GLOSSING FREUD'S FAMOUS EXAMPLE of “shine on the nose/glance at the nose” (Glanz auf der Nase), Christopher Pye suggests that the familiar account of the fetish (as a simulacrum standing in for a missing object) does not capture what is exemplary about the example, that is, the way the act of looking is crystallized in the object seen, a shine equated with a glance. In that conflation, one can recognize the ultimate grounds for the fetish's captivating properties, as well as the entire economy of repudiation and renewed loss it embodies. Not simply a reassuring compromise object in place of a loss, the fetish actively plays out and shores against that originating split in the experience of being inscribed within– ‘fascinated’ by–the gaze as it derives from elsewhere. (176 n.17)
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Geraghty, Niall H. D. "A tuberous fetish." Journal of Romance Studies: Volume 21, Issue 2 21, no. 2 (June 1, 2021): 185–208. http://dx.doi.org/10.3828/jrs.2021.11.
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Peruvian director Claudia Llosa’s La teta asustada (2009) has often been analysed in academic literature. Such discussions frequently focus on the film’s central female character, Fausta, as a means either to critique the representation of indigenous Andean characters within the film or to celebrate themes of female empowerment. In contrast, this article provocatively suggests that a potato that Fausta inserts into her vagina is the true protagonist of the film. Drawing on the work of Karl Marx, Sigmund Freud and Laura U. Marks, it will be demonstrated that Fausta’s potato is an unusual tripartite fetish: a commodity; a materialization of psychical power; and an intercultural object imbued with agency. In this way, the article proposes that Llosa manipulates Peruvian cultural history in such a way that the film is rather more complex and ambiguous than it may at first appear.
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Sukhonos, V. V. "HISTORICAL CRITERIA OF THE LEGAL APPROACH TO THE TYPOLOGY OF THE STATE." Legal horizons, no. 22 (2020): 16–21. http://dx.doi.org/10.21272/legalhorizons.2020.i22.p16.
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The article is devoted to the typology of the state. The main attention is paid to three main approaches to the typology of the state: formational, civilizational, and legal. In many respects, the typology is the result of the description of certain phenomena and their comparison. Based on this, typology problems arise in all sciences that deal with extremely heterogeneous sets of usually discrete objects and solve the problem of orderly description and explanation of these sets. However, it does not matter to which group of sciences these sets and objects belong. These can be both natural sciences (chemistry and biology) and humanities (psychology and linguistics), and social sciences (sociology). In particular, in Western social thought, tendencies to rethink typology appear in both concepts of models of history and models of culture. In contrast, Marxism gave rise to the doctrine of social formations, which was associated with the separation of economic and historical types of society, which were based on certain production relations. It is using the methods of typology, Marxist sociology singled out certain structural units of the historical process, which allowed to formulate a certain, well-argued, explanation of the history of many historical types of society and culture, the existence of various systems within certain social formations. And although the economic fetish inherent in Marxist sociology largely led to the purely one-sided nature of Marxist philosophy, it was its proponents who first raised the question of historical types of state at the scientific level, the first attempt to apply typology to political science. As a result, there was such a category as the typology of the state – the differentiation of groups of states on common features that determine the essential characteristics of these groups of states. In this case, the typology acts, in essence, as a reflection of the process of historically inevitable change of some types of state and law to others, and therefore is one of the most important techniques or means of learning the historical process of state and law. Problems of state typology are traditionally studied by the theory of state and law. At the same time, until now, two approaches have traditionally been distinguished: formational and civilizational. Within the framework of the first approach, the typology of the state is identified with its genesis. The second approach identifies the state and civilization. However, in modern political science, processes have begun in which scholars try to consider the types of state not only in the context of civilizations or social formations but also in the actual legal aspect. Within the legal approach to the typology of the state, several criteria are distinguished. According to the historical criterion, we can distinguish such types of state as primary, evolutionary, bureaucratic, and minimal. Keywords: type of state; typology of the state; formational approach to the typology of the state; civilizational approach to the typology of the state; civilization; formation.
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Scribner, Charity. "Object, Relic, Fetish, Thing: Joseph Beuys and the Museum." Critical Inquiry 29, no. 4 (June 2003): 634–49. http://dx.doi.org/10.1086/377723.
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Franklin, Sarah Brooks. "Life story: The gene as fetish object on TV." Science as Culture 1, no. 3 (January 1988): 92–100. http://dx.doi.org/10.1080/09505438809526213.
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Wilson, Andrew. "Using corpora in depth psychology: a trigram-based analysis of a corpus of fetish fantasies." Corpora 7, no. 1 (May 2012): 69–90. http://dx.doi.org/10.3366/cor.2012.0018.
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Contemporary depth psychology is under constant pressure to demonstrate and strengthen its evidence base. In this paper, I show how the analysis of large corpora can contribute to this goal of developing and testing depth-psychological theory. To provide a basis for evaluating statements about foot and shoe fetishism, I analyse the thirty-six most frequent three-word phrases (or trigrams) in a corpus of about 1.6 million words of amateur fetish stories written in the German language. Zipfian methods from quantitative linguistics are used to specify the number of phrases for analysis and I argue that these reflect the core themes of the corpus. The analysis reveals three main dimensions. First, it corroborates the observations of the early sexologists that foot and shoe fetishism is very closely intertwined with sadomasochism. Secondly, it shows that genitalia-related phrases are also common, but an examination of their contexts questions Freud's theory that fetishism results from an assumption of female castration. Thirdly, it reveals that the mouth also plays a key role; however, the frequent co-presence of genitalia references in the same texts does not seem to support straightforwardly the most common alternative theory of fetishism based on object relations. Future research could valuably extend this approach to other fetishes and, in due course, to other depth-psychological constructs.
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Sloate, Phyllis L. "From Fetish Object to Transitional Object: The Analysis of a Chronically Self-Mutilating Bulimic Patient." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 36, no. 1 (March 2008): 69–88. http://dx.doi.org/10.1521/jaap.2008.36.1.69.
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Hutchings-Goetz, Tracey. "The Glove as Fetish Object in Eighteenth-Century Fiction and Culture." Eighteenth-Century Fiction 31, no. 2 (January 2019): 317–42. http://dx.doi.org/10.3138/ecf.31.2.317.
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Király, Hajnal. "An Uncanny Cinema, a Cinema of the Uncanny. The Trope of the Doll in the Films of Manoel de Oliveira." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 33–51. http://dx.doi.org/10.1515/ausfm-2018-0002.
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Abstract I argue that the trope of the doll, recurrent throughout the films of Manoel de Oliveira, is a visual figure that beyond narrative becomes a discourse on modernity and modernism, stillness and movement, life and death. Accordingly, I propose an overview of occurences of dolls and of “dollness” throughout the work of Oliveira – from Aniki Bobó (1942) to The Strange Case of Angelica (2010) – with the aim of tracking the line of transformations of an emblematic object into an aesthetic principle, a central figure involving psychoanalytical concepts such as the Freudian “uncanny,” the fetish or the transitional object.
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MacNeil, William P. "Waldo's Beautiful Things: Possession and Possessing in Otto Preminger's Laura." Crime Fiction Studies 2, no. 1 (March 2021): 1–14. http://dx.doi.org/10.3366/cfs.2021.0030.
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Despite its highly subjectivised title, Laura – Otto Preminger's dazzling 1944 noir classic – is, according to this article, a film not so much about persons as things. And what spectacularly beautiful things Laura proffers: exquisite objets d'art, chic fashion, striking design. All of which points to a certain psychic condition that underpins Laura: namely, fetishism. Of course, the fetish nonpareil in the film is Laura herself; she is the not so ‘obscure object of desire’ for all and sundry, possessing everyone in the film, and, in turn, being treated by those possessed, as a possession herself. Though the nature of these sorts of possessory regimes differs dramatically, being contingent upon the psychic profile of the possessor: love interest Shelby Carpenter, police detective Mark McPherson and wealthy mentor, Waldo Lydecker. This article will explore Laura's competing possessory regimes, utilising psychoanalytic concepts such as hysteria, repetition compulsion and the death drive, as well as fetishism and sado-masochism to unpack this vivid filmic representation of the ‘Law of Desire’ as a desire for what is, here, law's objet petit a – feminine sexuality itself.
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Spector, Jack J. "The Avant-Garde Object: Form and Fetish between World War I and World War II." Res: Anthropology and Aesthetics 12 (September 1986): 125–43. http://dx.doi.org/10.1086/resv12n1ms20166757.
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Wyngaard, Amy S. "The Fetish in/as Text: Rétif de la Bretonne and the Development of Modern Sexual Science and French Literary Studies, 1887–1934." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 662–86. http://dx.doi.org/10.1632/003081206x142814.
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This essay examines the role of Rétif's writings in the development of the concept of erotic fetishism and in the formation of the French literary canon in the late nineteenth and early twentieth centuries. Rétif explored foot and shoe fetishisms more than a century before the phenomena were medically recognized, anticipating the modern psychosexual use of the term fetishism and making important contributions to the invention of the theoretical concept. Rétif's works were accorded a privileged place in early pathologies of fetishism, which provoked a series of polemics among German and French medical doctors and literary scholars centered on notions of national supremacy and literary value. Marked as bad literature, in both senses of the term, Rétif's writing was subsequently excluded from the French literary canon on moral grounds and became a kind of fetish object in the French literary corpus. (ASW)
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Paharely, Aliaksandr. "«Čorna-bielaja» rečaisnasć u sviatlie presy mižvajennaj Bielaruskaj Chryscijanskaj Demakratyi i «dobryja» i «drennyja» rečy." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 13 (November 25, 2020): 278–99. http://dx.doi.org/10.31338/2544-3135.si.2020-13.13.
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Two colours dominated the imagery representing social reality in the press of interwar Belarusian Christian Democracy. Various social phenomena, people, or material objects could be perceived as either “good” (“white”) or “evil” (“black”). In the realm of “good” material objects, phenomena, and people, it was actually pragmatism that mattered in the context of what was perceived as useful for the Belarusian nation. The latter was represented in the press as the “moral community”, which included the authors and editors as well as readers and supporters of BChD in rural areas. The realm of material objects is also of interest, as they likewise could be perceived as either “good” or “evil” from the community’s point of view. On the one hand, the objects were the symbols of this community; however, on the other, they could be viewed as powerful protecting fetishes.
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Olney, Ian. "Haunted Fascination: Horror, Cinephilia and Barbara Steele." Film Studies 15, no. 1 (2016): 7–29. http://dx.doi.org/10.7227/fs.0006.
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Regarded by fans and critics alike as the Queen of Horror, Barbara Steele stands as one of the few bona fide cult icons of the genre, whose ability to project an uncanny blend of deathliness and eroticism imbues her characters with a kind of necrophiliac appeal. Horror film scholars have tended to read Steele‘s films in feminist terms, as texts that play to our fascination with the monstrous-feminine. This article approaches them from a different standpoint – that of cinephilia studies. Steele‘s cult horror films are at their most basic level horror movies about cinephilia, presenting her as the very embodiment of the ghostly medium that cinephiles cherish. In so doing, they convert Steele into a necrophiliac fetish-object, an intoxicating fusion of death and desire. Considering Steele‘s work from this perspective reveals the fluidity of the boundary between horror and cinephilia, demonstrating that horror has something important to teach us about cinephilia and cinephilia has something important to teach us about horror.
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Stawiarski, Marcin. "Eccentric Voices and the Representation of Vocal Virtuosity in Fiction: James McCourt’s Mawrdew Czgowchwz." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 69–79. http://dx.doi.org/10.4312/elope.13.1.69-79.
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This paper examines the representation of vocal virtuosity in fiction. It focuses on the concept of voice as it is represented in a work of fiction through musical eccentricity. The paper centres on James McCourt’s Mawrdew Czgowchwz (1975). James McCourt’s novel tells the story of an opera singer, Mawrdew Czgowchwz. In the novel, the voice is related to extravagance and fanaticism, so that it relates to violence and conflict. In McCourt’s novel, the stylistic features of the text show a hyperbolic use of language resorting to Rabelaisian lists, foreign vocabulary, neologisms, or nonce-words, which create tongue-twister cornucopia effects of linguistic musicality. The paper aims to demonstrate that (a) the mode of eccentricity is a fundamental mode of representing music in literature; (b) eccentricity rubs off on the very structure of the text, so that it leads to singular forms of operatic musicalization of fiction and musicalized writing; (c) the voice ends up turning into a fetish object.
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du Plessis, Michael. "The postmodern object: Commodities, fetishes and signifiers in Donald Barthelme's writing." Journal of Literary Studies 4, no. 4 (December 1988): 443–58. http://dx.doi.org/10.1080/02564718808529888.
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Watson, Laurel B., Raquel S. Craney, Sydney K. Greenwalt, Marcella Beaumont, Cassandra Whitney, and Mirella J. Flores. "“I Was a Game or a Fetish Object”: Diverse Bisexual Women’s Sexual Assault Experiences and Effects on Bisexual Identity." Journal of Bisexuality 21, no. 2 (April 3, 2021): 225–61. http://dx.doi.org/10.1080/15299716.2021.1932008.
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Tokarev, Grigoriy. "Semantic and Pragmatic Parameters of Quasi-Symbols Description (Based on the Example of the Cultural Fetish Code)." Izvestia of Smolensk State University, no. 3 (51) (November 2, 2020): 81–92. http://dx.doi.org/10.35785/2072-9464-2020-51-3-81-92.
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The article considers one of the units forming the linguistic and cultural
level ‒ a quasi-symbol, which denotes ideas in an imperative form. The differential
feature of the quasi-symbol is the fact that it encourages certain actions; it
models the interpretant’s behavior. This unit is characterized by vivid imagery
and it may include an evaluative and emotive component in its meaning. The
semantics of the quasi-symbol is characterized by multiple layers. The article
discusses and tests the parameters of lexicography of the quasi-symbol using the
example of units characterizing the cultural fetish code.
The main research method is linguistic and cultural interpretation,
which consists in interpreting the semantics of a unit, characterizing its pragmatic
properties in cultural categories. The study finds that the names of symbols
and quasi-symbols can coincide formally. The semantics of the quasisymbol
may differ significantly from the meaning of the correlating symbol. It is shown that the functional specificity of the name acting as a cultural symbol is unambiguous: a unit performs one cultural function. The basis for forming a symbolic meaning is the observation of the object usage and its properties. The article proves that the quasi-symbol can have a more complex semantic
structure in comparison with the correlating symbol represented by the
object. The main intentions of quasi-symbols include a statement of the situation, assessment, and warning. The paper determines the parameters sufficient for lexicography of the quasi-symbol such as significative content, an interpretant, the basis for the formation of a symbolic meaning, intentionality and features of functioning.
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Leeb, Claudia. "Mystified Consciousness: Rethinking the Rise of the Far Right with Marx and Lacan." Open Cultural Studies 2, no. 1 (October 1, 2018): 236–48. http://dx.doi.org/10.1515/culture-2018-0022.
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Abstract This paper brings core concepts coined by Karl Marx in conversation with Jacques Lacan to analyse some of the mechanisms that have mystified subjects’ consciousness, and contributed to a scenario where the (white) working-classes in the United States and elsewhere turned to the far right that further undermines their existence, instead of uniting with the raced and gendered working class to overthrow capitalism. It explains that the money fetish, which we find at the centre of the American Dream of wholeness (on earth), serves as the unconscious fantasy object petit a to deal with the desires and fears subjects fundamental non-wholeness creates, which have been heightened by the insecurities of neoliberal capitalism and exploited by the far right. It also shows how religion offers the illusion of wholeness in the sky, which produces subjects who endure rather than rebel against their suffering. Finally, it explains how the far-right brands the sexed and raced working-classes as inferior to uphold the illusion of the white working-class subjects as whole, which further undermines the creation of a revolutionary proletariat.
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Solander, Tove. "Dolldonics: Doll Games as a Laboratory of Experimental Desire." Somatechnics 5, no. 2 (September 2015): 217–33. http://dx.doi.org/10.3366/soma.2015.0162.
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This article considers doll games not as an exercise for reproductive heterosexuality but as a laboratory of queer sexuality. My main source is the literary hypertext The Doll Games by Shelley and Pamela Jackson. In this work, the unsexed doll body is described as the ‘sexless baton’ at the core of sex and penises are compared to dolls played with in the doll games of sex. The term dolldonics indicates a Deleuzian understanding of such objects used to prosthetically extend bodies and make desiring connections. They are not to be understood as fetishes in the psychoanalytic sense, inevitably pointing back to the phallus. There is a tradition of surrealist artists such as Hans Bellmer taking an interest in the recombinant possibilities of doll bodies. However, in the work of male artists, the queer potential of such polymorphous prosthetics has often been restricted by an erotisation of the doll as stand-in for the little girl, with whom it is so closely associated. In doll work by female artists with experience of being girls and playing with dolls, such erotisation of the girl-as-doll and doll-as-girl is less likely to occur, or at least occurs in different and more complex ways. The erotisation of doll bodies is based less on it standing in for the forbidden sexual object of the little girl, and more of the tactility of holding, manipulating, dismembering, dressing and undressing them. In doll games, the conventional distinction between desire and identification is undone, which confuses categorisations such as gender and sexual identity, and further subject/object, animate/inanimate and human/nonhuman.
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Cluley, Robert. "Sexual fetishism in organizations: The case of journal list fetishism." Organization 21, no. 3 (April 28, 2014): 314–28. http://dx.doi.org/10.1177/1350508413519763.
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Organizations can encourage their members to over-value means above ends. A case in point is the tendency among academics to over-value standardized ranking lists for academic journals at the expense of high quality research. To make sense of such seemingly perverse object choices, organizational researchers have turned to the concept of fetishism. However, organizational researchers have yet to consider how these fetishes are organized as sexual object choices—a strange omission given the expansive empirical and theoretical literature exploring fetishism as a sexual practice. Drawing a distinction between the fetishism of organizations and fetishism in organizations, the article seeks to redress this oversight.
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Pereira, Roseana Sathler Portes. "The corset as a fetish object of Victorian England and the crisis of values into the dynamics between class and gender." ModaPalavra 13, no. 29 (July 1, 2020): 43–69. http://dx.doi.org/10.5965/1982615x13292020043.
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Wiggins, Tobias B. D. "A Perverse Solution to Misplaced Distress." TSQ: Transgender Studies Quarterly 7, no. 1 (February 1, 2020): 56–76. http://dx.doi.org/10.1215/23289252-7914514.
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Abstract Transgender people have long been associated with sexual perversion. For example, many early versions of the Diagnostic and Statistical Manual of Mental Disorders (DSM) infamously categorized any gender variance as sexual deviance or paraphilia. This article therefore investigates the taxonomical movement away from the transgender subject as perverse toward the current diagnosis of gender dysphoria, which instead consolidates the transgender subject as distressed and suffering. Through an unconventional use of psychoanalytic theories of perversion, I argue that DSM-5’s new diagnosis criteria work defensively, functioning as an antidote to the clinician's anxiety in the face of difference. When separated from stereotypical acts and identities, perversion proves to be quite valuable in understanding clinical transphobia. In particular, Freud's writings on fetishism and disavowal reveal some of the unconscious roles at play in the repeated medicalization of trans people and the restricting of transition-related resources. Through the donning of a fetish object, disavowal acts to ignore an upsetting reality while the traumatic truth remains intact. An analysis of Chase Joynt's video installation, Resisterectomy, provides grounded narratives of gendered surgery and illness that disrupt anticipated affects, temporalities, and curative measures.
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Biswas, Banani. "Patterns of Male/Erotic Fantasy in Coover’s “The Babysitter”." Asian Journal of Humanity, Art and Literature 5, no. 1 (June 30, 2018): 9–18. http://dx.doi.org/10.18034/ajhal.v5i1.328.
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The paper aims at studying the patterns of the male fantasy in Robert Coover’s erotically charged short story, “The Babysitter”. The story centres on the image of a Babysitter stepping into a bathtub for having a shower while the phone in the living room rings, driving her out of the tub to answer it by the time the towel wrapping her pulls off giving a view of her naked body. In a rapid succession of one hundred and seven fragmented paragraphs, this image vividly recurs in and rolls up through the fantasies to fantasies of its male characters, blurring and overlapping these, creating fresh new versions of the story from the Babysitter being raped to the Babysitter saved from being raped. The study examines a clear line of development in the fantasies of each of these characters. Considering age, sexual orientation, experiments, adjustment and satisfaction, personality, and other socio-cultural variables, it (re)conceptualizes their fantasies as falling into certain patterns like obsessive, childlike, romantic, or deviant. And, finally and most importantly, it explores the binary power relation embedded in these fantasies wherein the Babysitter poses a fetish, an inanimate, sexualized object while the fantasies around her confirm to male/sexual power, violence, and masochistic pleasure. The research approaches the fantasies with psycho-feminist viewpoints.
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Krieger, Martin H. "Making Physical Objects: The Law of the Excluded Middle, Dumbing-Up the World, & Handles, Tools, and Fetishes." Configurations 2, no. 1 (1994): 107–17. http://dx.doi.org/10.1353/con.1994.0013.
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Sheehan, Rebecca. "Biker Boys, Muscle Cars, Hollywood Men." Film Studies 21, no. 1 (November 2019): 65–82. http://dx.doi.org/10.7227/fs.21.0006.
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This article examines how the ironic construction of queer masculinity from biker culture, a realm of consumer fetishism and hetero-masculinity, in Kenneth Anger’s Scorpio Rising (1964), influences Nicolas Winding Refn’s 2011 film Drive. As Anger’s film appropriates pop-culture images and icons of biker culture, fetishes of post-Second World War American masculinity, Refn uses overt references to Anger’s film to wage a similar reappropriation of muscle car culture, in the process challenging contemporary images of heterosexual masculinity in Drive. Like Anger, Refn relies upon the dynamics of fetishism and postmodernism’s illumination of the distance between sign and object to subvert muscle cars’ associations with masculine violence and rivalry, mobilising them instead to exploit the inherent multivocality of the fetishised object, seizing the car (and its mobility) as a getaway vehicle to escape prescriptions of identity and limiting definitions of gender and sexuality.
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Charania, Moon. "Ethical Whiteness and the Death Drive." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 109–37. http://dx.doi.org/10.1215/02705346-8085135.
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This article looks at two controversial war films—Eye in the Sky (dir. Gavin Hood, UK/South Africa, 2015) and Whiskey Tango Foxtrot (dir. Glenn Ficarra and John Requa, US, 2016)—both of which feature white female protagonists as conflicted but central participants in the racialized domains of war and political machinations. While one film takes on a serious ethical polemic (the innocent lives of civilians caught in the visual crosshairs of drone cameras) and the latter is a romantic comedy following the adventures of a journalist in Afghanistan, both visually capture important ethical questions around white imperial violence, the disposability of brown lives, and the current political shift of and toward white women in positions of intense power. The article argues that these two technologies of domination—visual culture that entertains its citizens and political practice that secures its citizenry—are profoundly interlinked public archives in which to read what here is called “ethical whiteness,” its relationship to the death drive, and the gendered currency of both. Using the figure of the little brown girl that sits at the center of Eye in the Sky, the fetish object central to the story, alongside the comedic characterology in Whiskey Tango Foxtrot, the article underscores how ethical whiteness is tightly bound up with the death drive but in a way that destroys through the empathetic dimension. Analyzing these widely circulated visual moments of “ethical whiteness” exposes a pernicious social text that prioritizes the necropolitical through the necro-pedophiliac.