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  1. Young Marx on Fetishism, Sexuality, and Religion Revisiting the Bonn Notebooks.Kaan Kangal - 2022 - Monthly Review 5 (74):46-57.
    There is hardly any theme in Karl Marx’s theoretical corpus that has garnered as much traction as his theory of fetishism. Ever since Marx introduced the term into his critique of political economy in Capital, fetishism became a field of theoretical force, creating its own gravitational center toward which the interest of later generations of historians, social theorists, and political activists has been pulled. While much ink has been spilled on the specific content and theoretical scope of fetishism in Capital (...)
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  2. Does legal epistemology rest on a mistake? On fetishism, two‐tier system design, and conscientious fact‐finding.David Enoch, Talia Fisher & Levi Spectre - 2021 - Philosophical Issues 31 (1):85-103.
    Philosophical Issues, Volume 31, Issue 1, Page 85-103, October 2021.
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  3. Arnošt Kolman’s Critique of Mathematical Fetishism.Jakub Mácha & Jan Zouhar - 2020 - In Radek Schuster (ed.), The Vienna Circle in Czechoslovakia. Springer. pp. 135-150.
    Arnošt Kolman (1892–1979) was a Czech mathematician, philosopher and Communist official. In this paper, we would like to look at Kolman’s arguments against logical positivism which revolve around the notion of the fetishization of mathematics. Kolman derives his notion of fetishism from Marx’s conception of commodity fetishism. Kolman is aiming to show the fact that an entity (system, structure, logical construction) acquires besides its real existence another formal existence. Fetishism means the fantastic detachment of the physical characteristics of real things (...)
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  4. Différence sexuelle, différence idéologique : Lectures à contretemps (Derrida lisant Marx et Althusser, dans les années 1970 et au-delà).Thomas Clément Mercier - 2020 - Décalages 2 (3):1-51.
    Cet essai présente une description de plusieurs travaux inédits de Jacques Derrida au sujet de Marx et d'Althusser datant des années 1960 et 1970. Au-delà du travail philologique, il s'agit aussi d'une étude théorique de notions telles que 'idéologie', 'fétichisme', 'reproduction', 'division du travail', 'différence sexuelle', 'domination', 'économie politique', 'matérialisme dialectique', ou 'production culturelle' — tout autant à travers les textes marxistes que dans les lectures déconstructives qu'en propose alors Derrida. Durant les années 1970, dans le cadre de son séminaire, (...)
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  5. Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music.Robin M. James - 2007 - CR 7 (1):45-80.
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
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  6. The evasion of gender in Freudian fetishism.Donovan Miyasaki - 2003 - Psychoanalysis, Culture, and Society 8 (2):289-98.
    In Three Essays on the Theory of Sexuality, Freud rejects the notion of a biologically determined connection of instinct to object, a position which helps him avoid the designation of all variations from heterosexuality as either “degenerate” or “pathological.” However, the gender roles and relations commonly attributed to heterosexuality are already implicit in his understanding of sexual instinct and aim. Consequently, even variations from the normal sexual object and aim exemplify, on his interpretation, the clichéd hierarchical opposition of femininity and (...)
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  7. The confusion of Marxian and Freudian fetishism in Adorno and Benjamin.Donovan Mioyasaki - 2002 - Philosophy Today 46 (4):429-43.
    Both 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 (...)
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