Alexandre Duchêne & Monica Heller (eds.), Language in late capitalism: Pride and profit. New York: Routledge, 2012. Pp. iv, 269. Hb. $108.29.

2014 ◽  
Vol 43 (1) ◽  
pp. 123-124
Author(s):  
Erik Aasland
Keyword(s):  
New York ◽  
2021 ◽  
pp. 146954052110139
Author(s):  
Collin Chua

In our era of late capitalism, we can bear witness to the ongoing creative fashioning of successful failure into a commodity which has grown in value. This article discusses two topics: firstly, attitudes towards and narratives of failure in the entrepreneurial start-up space; and secondly, how ‘successful failure’ is increasingly becoming marketised beyond the entrepreneurial start-up space, as people face the escalating power of an injunction to ‘learn from failure’, and are expected to perform accordingly, as we now live within what has been described as an entrepreneurial economy. The example that initiated this line of research has been the phenomenon of ‘Fuckup Night’ events: ‘Fuckup Nights is a global movement and event series that shares stories of professional failure. Each month, in events across the globe, we get three to four people to get up in front of a room full of strangers to share their own professional fuckup. The stories of the business that crashes and burns, the partnership deal that goes sour and the product that has to be recalled, we tell them all’. In essence, the message is as follows: ‘Yes, you should tell everyone about your failures, as the path you have trod on the route to success’. The marketisation of triumphalist narratives of failure illustrates the rise of a new ‘ideology that justifies engagement in capitalism’, calling for ‘workforce participation’ in a new way (Boltanski and Chiapello, 2007 The New Spirit of Capitalism. London and New York: Verso: 8). This article examines and theorises the commoditisation of successful failure: how certain kinds of failure have been packaged and produced for impact, how – properly packaged – successful failure has become a profitable and lucrative asset and how new markets now thrive around these newly commodified narratives of failure. The article explores the context for the emergence of appropriate market conditions for the production, circulation and consumption of ‘successful failure’ as commodity.


Author(s):  
Katie Beswick

This chapter considers how class and race are navigated through informal performances by marginalized subjects in New York City and London. Taking litefeet dance and grime music as objects of analysis (both performance forms developed and pioneered by working-class men of color), it argues that we can think of informal and ostensibly frivolous practices as importantly political, structuring our understanding of cities and contributing to social and cultural change compelled by injustices in the political system of late capitalism. The chapter posits space as a means of understanding the politics of global cities and the connections between different geographical locations. Drawing on ethnographic and observation work undertaken by the author between 2014 and 2020, it uses hip-hop practices taking place in different contexts as a way of exploring how those who are relegated to the city’s edges find ways to survive and to push back against the dominant order. The argument here acknowledges the impossibility for marginalized performance forms to bring about total structural change but delineates ways that informal practices might nonetheless participate in a politics (understood as a struggle over power) and contribute to processes of change, which may not be inherently radical but are nonetheless resistant.


2005 ◽  
Vol 2 (1-2) ◽  
pp. 127-137 ◽  
Author(s):  
Stipe Grgas

Taking as his point of departure the immense significance the city has for understanding the present moment and the special relationship the city has had with the novel, the author gives a reading of Don DeLillo and the way his work has engaged the city of New York. Focusing upon his last two novels, Underworld and Cosmopolis, the author describes how these two novels narrate the transformations the American city has undergone during the second part of the twentieth century. The bulk of his analysis deals with the function the Prologue flashback of the Bronx has in the earlier novel and the transformed city of late capitalism in his last text. The author concludes his reading by pointing out how DeLillo’s novels not only provide fictional accounts of what has occurred in the urban sphere but how they provide evidence of the difficulty of representing the contemporary world and how they foreground urgent political considerations.


Author(s):  
Michael A. Chaney

This chapter examines self-portraiture in contemporary graphic novels and how they oppose the standard theoretical skepticism regarding the viability of cognitive mapping, or the ability to plot oneself in a social order defined by the arrangements of late capitalism. Autography's peculiar textures of visuality and capitalism in self-portraiture are explored through an analysis of Julie Doucet's cover image of My New York Diary (1999) and David Small's Stitches (2009). Doucet's cover image resembles two types of the medieval colophon: one showing scribes and illuminators busy at work, and the other showing them transfixed in spiritual rapture. Doucet's colophonic cover invests in a fantasy of artistic self-representation that is replicated in Stitches Stitches. The chapter argues that Stitches aligns with the tradition of the künstlerroman, or narratives of the artist's development. It concludes by considering how artistic escape and expressivity produce narrative stitches for artistic labor to cover over.


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