SCUM Without a Subject: Valerie Solanas at the End of the Avant-Garde.
The avant-garde, conceptualised as a particular articulation of politics and aesthetics, gains descriptive purchase only when seen as an epochal process that emerges in relationship to a distinct regime of capital accumulation and thus a distinction configuration of social production and reproductio...
| Publicado en: | Colloquy: Text Theory Critique Vol. 33; pp. 54 - 73 |
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| Formato: | Artículo |
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Monash University, Faculty of Arts
2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=123789254&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 123789254 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13259490 E17 jtl: Colloquy: Text Theory Critique issn: 13259490 maglogo: N pubinfo: dt: 2017 vid: 33 pid: 20910 pub: Monash University, Faculty of Arts artinfo: ui: 123789254 10.4225/03/592227bf3099d ppf: 54 ppct: 19 formats: fmt: @attributes: type: P size: 1.4MB tig: atl: SCUM Without a Subject: Valerie Solanas at the End of the Avant-Garde. aug: au: Dufficy, Rory affil: Junior Research Fellow at Ormond College, University of Melbourne su: Solanas, Valerie, 1936-1988 Avant-garde (Arts) Conceptual art Aesthetics & politics Savings sug: subj: Solanas, Valerie, 1936-1988 Avant-garde (Arts) Conceptual art Aesthetics & politics Savings keyword: Avant-Garde SCUM Manifesto Valerie Solanas ab: The avant-garde, conceptualised as a particular articulation of politics and aesthetics, gains descriptive purchase only when seen as an epochal process that emerges in relationship to a distinct regime of capital accumulation and thus a distinction configuration of social production and reproduction. In this paper, I want to explore what a statement like this might mean, or how it might be true, by reading Valerie Solanas' SCUM Manifesto (1968) as a peculiar limit-point of that avant-garde, which, arriving at the moment of the latter's dissolution, allows us to witness the end of the conjunction of politics and aesthetics that carried that name, and thus perhaps better limn its features. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Colloquy: Text Theory Critique is the property of Monash University, Faculty of Arts and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Colloquy: Text Theory Critique holder: Monash University, Faculty of Arts dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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