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The rise of corporate capitalism was a cultural revolution as well as an economic event, according to James Livingston. That revolution resides, he argues, in the fundamental reconstruction of selfhood, or subjectivity, that attends the advent of an 'age of surplus' under corporate auspices. From this standpoint, consumer culture represents a transition to a society in which identities as well as incomes are not necessarily derived from the possession of productive labor or property. From the same standpoint, pragmatism and literary naturalism become ways of accommodating the new forms of solidarity and subjectivity enabled by the emergence of corporate capitalism. So conceived, they become ways of articulating alternatives to modern, possessive individualism. Livingston argues accordingly that the flight from pragmatism led by Lewis Mumford was an attempt to refurbish a romantic version of modern, possessive individualism. This attempt still shapes our reading of pragmatism, Livingston claims, and will continue to do so until we understand that William James was not merely a well-meaning middleman between Charles Peirce and John Dewey and that James's pragmatism was both a working model of postmodern subjectivity and a novel critique of capitalism.
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Despres Despres
reviewed Pragmatism and the political economy of cultural revolution, 1850-1940 on September 19, 2008
Pragmatism and the political economy of cultural revolution
This slim volume features a selection of cover, trading card, and gallery art from DC Comics' now discontinued Vertigo imprint. A few of the series featured are ones I've read, albeit a very long time ago: Sandman, The Books of Magic, Black Orchid, Swamp Thing, Sandman Mystery Theatre. Most are series I've never heard of before, or heard of but never looked into enough to find out what they were about. I've been meaning to try Animal Man for ages, for example, but it still hasn't happened.
When I was in high school, I'd occasionally use my lunch period to go to a nearby comics shop and buy a few things. The store was arranged by publisher, with imprints getting their own subsections, and an odd "miscellaneous" section to catch anything by smaller publishers. I spent most of my time in the Marvel and "miscellaneous" sections (yay, Elfquest!), but my love of Neil Gaiman's Sandman prompted me to spend time in the Vertigo section as well. Although I never bought many Vertigo titles - I didn't have much money and didn't know which series I might like, and the store owner was so unwelcoming that I didn't dare ask him for recommendations - I loved the covers. They looked so different from the Marvel and other DC stuff.
I spotted this book during a shopping trip years ago and bought it with the intention of using it as artistic inspiration. Nothing ever came of that, but it was still nice looking at all the artwork and huge variety of styles. Each section has a little bit of text, normally something about the history of a particular series. Most of the artwork just has captions with the title and issue number if applicable, date, and artist, but a few include tidbits of info about the artists' style and, very occasionally, something about their technique or the medium used.
All in all, this is a nice collection of artwork. I wish there had been more text focused on particular pieces, though, and interviews with some of the artists would have been great.
(Original review posted on A Library Girl's Familiar Diversions.)
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