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• W136969884 abstract "That use is not forbidden usury. Which happies those that pay the willing loan.... (Sonnet 6, lines 5-6) WHATEVER is in practice, cultural critics have increasingly come to the conclusion that, in theory, the concept--relevant at once for psychoanalysis, economics, anthropology and aesthetics--tends to redound upon vertiginously. today's critical theorists have a fetish,' writes one bemused critic, is probably fetishism itself (Wray 1998). Fetishism as collapses the terms of its own analysis. enacts what it describes. As Baudrillard puts it: Instead of functioning as a metalanguage for the of others, [the of fetishism] turns against those who use it, and surreptitiously exposes their own thinking (90). kind of magical thinking that Baudrillard has in mind, entails nevertheless two eminently rational activities: abstraction and quantification. If we can speak generally about the concept (a big if for Baudrillard and others): fetishism describes a certain decontextualization of the world of things. describes the movement of abstraction away from material contexts--a movement that transforms uses values, and means ends. What once was savored in a specific circumstance and for a discrete purpose, is now delivered from that context, and savored in and of itself. Released from the specificity of use and purpose, the fetishized can be valued, seemingly, on its own terms. materially useful thus becomes the immaterially precious subject. Qualitative diversity becomes quantitative intensity. In short, fetishism describes the fungibility of the world of things. At the same time--and this is the pathos of fetishism that is increasingly detailed today, by critics as diverse as Peter Stallybrass and Slavoj Zizek--the of fetishism has proved to be supremely fungible. describes the abstraction of the world of things, but at the same time, it becomes an abstract theory. Fetish is a fetish. It seems the word's usage is always somewhat 'indiscriminate,' writes cultural critic William Pietz, citing another theorist's dismay at the fungibility of the term. As Pietz points out, fetishism always threatens to slide into an impossibly general theory (Pietz 1985, 5). Pietz's response to this dilemma is a familiar one: Historicize. Contextualize. Particularize. As we shall see, however, the use of fetish provides a singular challenge to this familiar strategy--a singular challenge that has, nonetheless, much to teach us about the general difficulties we encounter whenever we seek to historicize our psychoanalytic terms of art. At the start of his triptych of essays on The Problem of the Fetish, Pietz explains that he intends to explore the history of fetishism as a general theoretical term, and that he must begin accordingly with a study of the origin of the fetish as a word and as a historically significant object (ibid.). Pietz knows, as every good critic knows, that history is the proper critical corrective to critical misappropriations. We can correct the misprisions of our present critical usage by tracing the origins and history of our language. strategy is as old as the Academy itself: as basic as Plato's etymologies, or the philologies of Renaissance humanists; as methodologically acute and self-aware as Derridean deconstruction or--on the other side of the postmodern coin--the genealogies produced within contemporary cultural studies. fundamental impetus remains the same: at stake is an effort to correct sloppy thought through an attention to linguistic decorum. In rhetorical terms at issue here is the effort to purge one's discourse of catachreses. OED defines catachresis (abusio in Latin) as an abuse or perversion of a trope or metaphor. Since metaphor--or translation as the Latin rhetors called it (from trans + fero)--entails a transfer of proper names, catachresis can thus be understood as an improper transfer. …" @default.
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• W136969884 title "The Use of the Fetish" @default.
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