Table of Contents

Credits List of Abbreviations Excursion: Triptik Introduction: From Adorno to the Clash "Into the Groove": Dance, Distraction, Reproduction The Body in Adorno, Adorno's Body The Body in Dance After Hegel: From Adorno to Barthes General Economics The Work of Affirmation Psycho-Marxism Vox Pop Theory Part One: From Negation to Affirmation Working in and for the Negative: On Hegel's Dialectic Late Hegelianism: On Adorno's Negative Dialectics Affirming Affirmation: On Nietzsche and Deleuze and Guattari Transit: From Negation/Affirmation to Critical Affirmation Part Two: The Commodity-Body-Sign Turn: From "Affirmative Culture" to the Hysteria of Castration Freud, Marx, Baudrillard, or That "Surplus" Which Is Sign-Value Commodity-as-Art, Art-as-Commodity: Warhol's Coca-Cola Bottles, Shoes and Soup Cans Hard-Core Commodity Aesthetics: Warhol's Sticky Fingers and the Popular-Cultural Phallus Marx after Baudrillard: The Commodity-Body-Sign Consumption Redux : Cultural Populism, Consummativity, and the Consumptive "Beast of Burden" Marx avec Duchamp: Socialized Consumption and De-Commodification Return: Contradiction, Circulation, and the Production of Sign-Value Transit: (M)TV, The Art-Commodity in an Age of Electronic Reproduction Part Three: The Case of "Madonna Studies" Corpus Delicti : The Rise of Madonna Studies Madonna Overdrive: The Star Commodity-Body-Sign Body of Evidence: The Fatality of Madonna Studies Coda Notes Bibliography Index

About the Author

Robert Miklitsch is Assistant Professor of English at Ohio University.

Reviews

"Specific readings of other critical arguments, especially the discussion of materials about Madonna, are often brilliantly illuminating in Miklitsch's juxtaposition of multiple angles of analysis. On a larger scale, the informing trajectory of Miklitsch's argument with its ambition to link philosophical, psychoanalytic, semiotic, and economic accounts of 'commodity fetishism'constructs a similarly multifaceted form of understanding. Thus, it's an argument that always requires a reader on the stretch, able to shift suddenly from one discourse to another while still preserving an awareness of where you've just been." -- Evan Watkins, The Pennsylvania State University