Ideological debates about economics and aesthetics raged hotly in nineteenth-century France. French political economy was taking shape as a discipline that would support free-market liberalism, while l’art pour l’art theories circulated, and utopian systems with aesthetic and economic agendas proliferated. Yet, as this book argues, the discourses of art and literature worked in tandem with market discourses to generate theories of economic and social order, of the model of the self-individuating and desiring subject of modernity, and of this individual’s relationship to a new world of objects. Baudelaire as a poet and art critic is exemplary: Rather than a disaffected artist, Baudelaire is shown to be a spectator desirous of both art and goods whose sensibilities reflect transformations in habits of perception. The book includes chapters on equilibrium and utility in economic and aesthetic theory, on the place of the aesthetic in press coverage of the industrial exhibitions, on the harmonic theories of Baudelaire’s early art criticism, aimed at a bourgeois audience, on Baudelaire’s radical cosmopolitanism learned through viewing “objects” on display at the Universal Exhibition of 1855, and on Les Fleurs du Mal and Le Spleen de Paris, where language makes visible the traits of a new material world.
Ideological debates about economics and aesthetics raged hotly in nineteenth-century France. French political economy was taking shape as a discipline that would support free-market liberalism, while l’art pour l’art theories circulated, and utopian systems with aesthetic and economic agendas proliferated. Yet, as this book argues, the discourses of art and literature worked in tandem with market discourses to generate theories of economic and social order, of the model of the self-individuating and desiring subject of modernity, and of this individual’s relationship to a new world of objects. Baudelaire as a poet and art critic is exemplary: Rather than a disaffected artist, Baudelaire is shown to be a spectator desirous of both art and goods whose sensibilities reflect transformations in habits of perception. The book includes chapters on equilibrium and utility in economic and aesthetic theory, on the place of the aesthetic in press coverage of the industrial exhibitions, on the harmonic theories of Baudelaire’s early art criticism, aimed at a bourgeois audience, on Baudelaire’s radical cosmopolitanism learned through viewing “objects” on display at the Universal Exhibition of 1855, and on Les Fleurs du Mal and Le Spleen de Paris, where language makes visible the traits of a new material world.
Globalization as we know it today would be unimaginable without the revolution in information and communication technologies of the last thirty years. Yet have we achieved “one world” as the promotional hype for cellular and digital networks would have it? This collection of essays, Global Babel: Questions of Discourse and Communication in a Time of Globalization, explores the current state of communication and discourse in a globalized environment. The essays are united by an awareness that, whether understood technologically, economically, epistemologically, or culturally, globalization is a discursive field with discrepant assumptions, categories and conclusions. As such, globalization is double-edged, and complex. It can certainly enable the exploitation of the powerless by the powerful; in different contexts, or at different moments, it can also facilitate individual and collective agency. It is this doubleness, this complexity, that this collection seeks to bring into focus. This volume offers an interdisciplinary forum where technological, aesthetic, and ethical issues relating to globalization inhabit the same conceptual frame. Together the essays address the central issue of how the new knowledges of globalization are being articulated, and explore the cultural consequences and success of such communication and knowledge exchange.
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