Theory of fetish
A fetish is an object believed to have supernatural powers, or in particular, a human-made The eighteenth-century intellectuals who articulated the theory of fetishism encountered this notion in descriptions of "Guinea" contained in such.
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Fetish: towards a theory of powerful things
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Description:Commodified art[ edit ] The cultural critics Georg Simmel and Walter Benjamin examined and described the fetishes and fetishism of Art , by means of which "artistic" commodities are produced for sale in the market, and how commodification determines and establishes the value of the artistic commodities goods and services derived from legitimate Art; for example, the selling of an artist's personal effects as "artistic fetishes". In , Donald Winnicott presented his theory of transitional objects and phenomena, according to which childish actions like thumb sucking and objects like cuddly toys are the source of manifold adult behavior, amongst many others fetishism. Capitalism reorganises personal consumption to conform to the commercial principles of market exchange; commodity fetishism transforms a cultural commodity into a product with an economic "life of its own" that is independent of the volition and initiative of the artist, the producer of the commodity. The fetish, then, not only originated from, but remains specific to, the problem of the social value of material objects as revealed in situations formed by the encounter of radically heterogeneous social systems, and a study of the history of the idea of the fetish may be guided by identifying those themes that persist throughout the various discourses and disciplines that have appropriated the term. That "market freedom" might be an illusion , created by buyers and sellers in order to control of the economic choices available to them, as determined by the supply and the demand for commodities goods and services. In the book Dialectic of Enlightenment , Adorno and Max Horkheimer presented the Theory of the Culture Industry to describe how the human imagination artistic, spiritual, intellectual activity becomes commodified when subordinated to the "natural commercial laws" of the market. Industrialised culture[ edit ] Commodity fetishism is theoretically central to the Frankfurt School philosophy, especially in the work of the sociologist Theodor W.
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