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The Work of Art in the Age of Deindu...

Bernes, Jasper Quentin.

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The Work of Art in the Age of Deindustrialization.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Work of Art in the Age of Deindustrialization./
作者:	Bernes, Jasper Quentin.
面頁冊數:	117 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-07(E), Section: A.
Contained By:	Dissertation Abstracts International74-07A(E).
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3555574
ISBN:	9781267971937

The Work of Art in the Age of Deindustrialization.
Bernes, Jasper Quentin.

The Work of Art in the Age of Deindustrialization. - 117 p.

Source: Dissertation Abstracts International, Volume: 74-07(E), Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 2012.

Most people spend much of their lives working. By working, I mean "wage labor": activity undertaken in exchange for money in a society where money is necessary for survival. I begin with truism because I think that the fact of work, in all its bluntness, has never been accorded proper importance in literary criticism or cultural criticism in general. There is, of course, a convenient explanation for the absence: historically, art has been either the province of the leisured classes or something made and experienced outside of the bounds of the workday. Art is, therefore, an exception to the rule of work. And even Marxist critics---those whom one would expect to believe, as Marx did, that production and labor were foundational in capitalism---tend to approach the painting or the poem from the side of the market, consumption, and everyday life. Few ask what the work of art might share with work in general or how the constant technological and social refashioning of the workplace might affect the horizon of possibility for artworks.

ISBN: 9781267971937Subjects--Topical Terms:

523234
American literature.

The Work of Art in the Age of Deindustrialization.
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500 $a Source: Dissertation Abstracts International, Volume: 74-07(E), Section: A.
500 $a Adviser: Charles Altieri.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2012.
520 $a Most people spend much of their lives working. By working, I mean "wage labor": activity undertaken in exchange for money in a society where money is necessary for survival. I begin with truism because I think that the fact of work, in all its bluntness, has never been accorded proper importance in literary criticism or cultural criticism in general. There is, of course, a convenient explanation for the absence: historically, art has been either the province of the leisured classes or something made and experienced outside of the bounds of the workday. Art is, therefore, an exception to the rule of work. And even Marxist critics---those whom one would expect to believe, as Marx did, that production and labor were foundational in capitalism---tend to approach the painting or the poem from the side of the market, consumption, and everyday life. Few ask what the work of art might share with work in general or how the constant technological and social refashioning of the workplace might affect the horizon of possibility for artworks.
520 $a My dissertation, "The Work of Art in the Age of Deindustrialization," attempts to provide one answer to these questions, a historical answer, by a reading of important literary and artistic works from the 1960s and 1970s. These are decades in which twin political and economic crises---the political militancy we associate with 1968, on the one hand, and the crisis of profitability and the dollar we associate with 1973 on the other---force a profound restructuring of capitalism and class relations.
520 $a The relationship between the economic and the cultural is not, as it might seem, a case of simple synchronicity or one-to-one correspondence. Experimental poetry, for example, is avant-garde in the sole sense that it is speculative, a laboratorial mode which runs ahead of the work-a-day world rather than simply reflecting it. Such experimental modes elaborated critical responses and forms of technical imagination which aimed to respond to the rigid hierarchies of 1960s society and yet, via a kind of "cunning of reason," laid some of the foundations for the new work relations which became dominant in the 1980s and 1990s. Indeed, part of my argument is that some of the most recognizable of avant-garde devices have been thoroughly integrated into the very office machinery (now generalized into the home) which writers use to produce their works. Such recuperation builds upon an uneasy affinity between left- and right-wing critiques of postwar capitalism.
520 $a My first chapter traces the thematics of "management" and "self-management" as they appear in the early poetry of John Ashbery, and in his controversial book The Tennis-Court Oath (1962) in particular. Numerous poems in this collection---developed from an earlier poem, "The Instructional Manual"---take up the position of the midlevel employee, who is both the object of commands and the producer of commands. The experimental collages of The Tennis Court Oath illuminate the curious ambiguity of that special commodity, labor-power, which is at once object and subject: a thinking object, a commodity that speaks.
520 $a As I discuss in my second chapter, one site where all of these meanings are contested -- a site that again attracts the interest of both artists and business management theorists -- is the emergent discourse of cybernetics, Through the central notion of "feedback," cybernetics presents an image of social self-regulation based upon reciprocal, horizontal relations rather than explicit hierarchies. Writers and conceptual artists borrow from this discourse to model utopian social forms, ones where form is embedded less in explicit command than in something like a changeable grammar or syntax---cybernetics calls this "information"---which can be revealed and manipulated by art. To give just two examples, both Hannah Weiner in her Code Poems and Dan Graham in his Works for Magazine Pages follow the founder of cybernetics, Norbert Wiener, by treating information---and by extension, the formative powers of cultural labor---as a kind of anti-entropic, organizing force.
520 $a One of the reasons why it has been difficult to approach the cultural transformations of the 1960s and 1970s from the side of labor rather than, say, consumption---from the side of the workday rather than leisure time---is that increasingly these two spheres commingle, and the values associated with leisure time are invoked to make the workday more tolerable, at the same time as the protocols and routines associated with work colonize the space of leisure time. This crossing of spheres bears in particular upon the relations between unpaid "reproductive" or domestic labor (the housework associated with women) and waged labor. The subject of my third chapter, Bernadette Mayer's project Memory (1972)---performance, installation and epic poem---investigates the crossing and blurring of these spheres. (Abstract shortened by UMI.).
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