"Improved Countenance": Capitalist Relations in Mansfield Park

There is no neat division between the economic and the domestic. Not only are they connected, but their meaning, structure, and value are decidedly conditioned by one another. Yet, since it is capitalism’s nature to conceal exploitation, domesticity becomes outwardly coded as the domain of tradition, despite the productive forces of the market shaping domesticity through the process of social reproduction. Lise Vogel asks how the worker is produced in capitalism, analyzing the peculiar way women are exploited in this process. Using Vogel’s theory of labor and Marx’s analysis of commodity fetishism, this thesis analyzes Jane Austen’s Mansfield Park as a remarkable and salient example of capitalist relations invading and determining the realm of the domestic in the early 19th-century. At the beginning of the novel, Fanny Price, the protagonist of the novel, is intimately involved in social reproduction, but when she is displaced to the extravagant halls of Mansfield Park, her uncle’s estate, she enters the commodity sphere and becomes an ideological weapon, emptied out of her original and unique value to fervently justify the ruling class's power.

Neither remnants nor commodities: Spirit objects in early twentieth century Chinese regional fiction

This paper examines the regional fiction of early twentieth century China in order to understand how such texts presented the object world of rural life. In doing so it addresses a gap in the historiography of material culture in modern China, which has emphasized urban commodity regimes and has paid far less attention to the ways in which pre-existing object practices endured into the time of the modern Republic. Building off of the methodological insights of scholars such as Bill Brownand Janet Poole regarding the contribution that literary study can make to historical understandings of material cultures, this paper argues that the regional texts of Lu Xun, Xu Qinwen, Ye Shengtao, and Yu Dafu were bewitched by overlapping life worlds: one represented by the secular rationalism of the text's narrators, and the other represented by the animistic practices of the rural others they encounter, which was expressed through objects such as joss sticks, temple doorsills, and ancestral alters. These literary works reflected upon how objects were used to make meaning in ways that were not reducible to urban commodity fetishism or remnant “superstition.” As presented in these works, spiritual objects remain powerfully active parts of the affective worlds of rural people, collapsing binary distinctions between living language and inanimate matter, the human and the ghostly, the past and the present. For the narrators of these texts, these object practices invoke a complicated mixture of modernizing critique and empathetic recognition. As such, these texts allow readers to witness the early expressions of a complex dialectic of rejection and recognition/accommodation that has marked the attitude modernizing states in China have taken in relation to animistic material cultures over the past century.

Bottling the Colonial Unconscious: Ethical value networks and the commodification of fairness in the South African wine industry

<p>The rise of ethical certifications was greeted with optimism by scholars, activists and development practitioners, who predicted they would help to redistribute power and profit more equitably in South-North commodity trade, which has long been an engine of wealth extraction and underdevelopment in the resource periphery. The explicit attachment of value to the social and territorial origin of agro-food products would allow marginalised producers to resist corporate governance, race-to-the-bottom processes, and commodity fetishism. This would result in the retention of higher value at the production end of the chain, thereby fostering sustainable development in rural areas in the Global South. I investigate the extent to which power and profit is indeed redistributed more equitably in these new ‘ethical value networks’, through a case study of the South African wine industry. Complex apparatus of standards-setting, verification and auditing have formed the basis of strategies for post-apartheid transformation, redistribution and development in the South African wine industry, with progress conceptualised as taking place at the level of business. In this context, ethical certification constitutes a contemporary labour relations paradigm which in key ways reproduces ‘colonial unconscious’ discourses derived from the legacies of slavery, apartheid and farm paternalism. These embedded discursive power formations restrict the transformative potential of ethical certification. For ethical development to occur as a result of ethical value network formation, I argue that workers must gain greater agency and regulatory capability in the governance of these networks. I find also that ethical certification has not been an effective economic upgrading strategy for the South African wine industry. Instead, due to their deployment within oligopolistic networks, ethics have become commodified, and subject to neoliberal governance. Northern retailers have used their existing power to accumulate the value created by alignment with ethical conventions, and to avoid the costs. Ethical certifications compound the severe ‘cost-price squeeze’ faced by wine producers. This case study has broader implications for the theory of ethical value networks: showing that they are relational, geographically contingent, and remain susceptible to asymmetric governance and accumulation patterns.</p>

Bottling the Colonial Unconscious: Ethical value networks and the commodification of fairness in the South African wine industry

<p>The rise of ethical certifications was greeted with optimism by scholars, activists and development practitioners, who predicted they would help to redistribute power and profit more equitably in South-North commodity trade, which has long been an engine of wealth extraction and underdevelopment in the resource periphery. The explicit attachment of value to the social and territorial origin of agro-food products would allow marginalised producers to resist corporate governance, race-to-the-bottom processes, and commodity fetishism. This would result in the retention of higher value at the production end of the chain, thereby fostering sustainable development in rural areas in the Global South. I investigate the extent to which power and profit is indeed redistributed more equitably in these new ‘ethical value networks’, through a case study of the South African wine industry. Complex apparatus of standards-setting, verification and auditing have formed the basis of strategies for post-apartheid transformation, redistribution and development in the South African wine industry, with progress conceptualised as taking place at the level of business. In this context, ethical certification constitutes a contemporary labour relations paradigm which in key ways reproduces ‘colonial unconscious’ discourses derived from the legacies of slavery, apartheid and farm paternalism. These embedded discursive power formations restrict the transformative potential of ethical certification. For ethical development to occur as a result of ethical value network formation, I argue that workers must gain greater agency and regulatory capability in the governance of these networks. I find also that ethical certification has not been an effective economic upgrading strategy for the South African wine industry. Instead, due to their deployment within oligopolistic networks, ethics have become commodified, and subject to neoliberal governance. Northern retailers have used their existing power to accumulate the value created by alignment with ethical conventions, and to avoid the costs. Ethical certifications compound the severe ‘cost-price squeeze’ faced by wine producers. This case study has broader implications for the theory of ethical value networks: showing that they are relational, geographically contingent, and remain susceptible to asymmetric governance and accumulation patterns.</p>

The Influence of Consumerism Culture on the Ideology of College Students Under the Background of "Internet +" Impact and Response Research

As a value concept of Western capitalism, consumerism culture is the manifestation and new carrier of Western ideology in contemporary society. With the development of globalization, the characteristics of extreme individualism, hedonism, and commodity fetishism of consumerism culture have biased guidance and negative influence on the mainstream ideology of college students. As the main front of talent training, universities must adhere to the guiding position of Marxism in the field of ideology, avoid the multiple hidden penetration and diffuse transmission of consumerist ideology, and make full use of the communication advantages of "Internet +" to strengthen the mainstream ideology The guiding role of the students is to guide students to strengthen the "four self-confidence", form an internal ideological and cultural consciousness, and build a reasonable and scientific consumer culture atmosphere.

#Foodporn: Fetishized sharing of food and its images

Once translated into images, food acquires a broader meaning. Food is no longer merely something to eat, but to show, share and look at. The increasing amount of images and pictures of dishes on our social networks, associated with hashtags such as #foodporn, expresses this renewed social, communicative and provocative function of food. However, the exhibition of these images is quite ambivalent when it comes to establishing determined patterns of visual and social relationships with and between users. The aim of this article is to analyze and attempt to provide mediation to this ambivalence. The pornographic exposition of food images no longer presupposes a transitive form of consumption by the user, but becomes pure and self-reflexing spectacle. The images are obscene (Baudrillard [1981] 1994) and characterized by an excess of transparency on their object which abolishes any form of seduction (Baudrillard [1979] 1990). Barthes ([1980] 1981) defines this kind of image as unary. Pornographic images are an emblematic example. In terms of their self-evident objectivity, these pictures lack any punctum, any piercing sign of a relationship with or openness to the observer (see Eco 1962; 1979). Nevertheless, behind their apparent transparency, the images are always products of specific perspective cuts, and still able to convey mystery, meaning and involvement. The unary image of food is a further fragment in a series of multiple perspectives on the same object. Such potentiality is actualized in our (social) media culture in which sharing and continuous remediation of images and pictures of food constitute a complex storytelling of the object. This, in turn, fosters further participation by the users. The ambivalence between the indifference of the pornographic image and the involvement in the serialization of the detail is synthetized by the notion of fetishism (Baudrillard [1972] 2019). The social (and) media scenery seems to exemplify and radicalize a sort of commodity fetishism, in which social relationships between users are shaped and mediated by (social) media relationships between images of food.

Unveiling Musical Production: Strauss, Mahler and Commodity Fetishism in the Late Nineteenth Century

This article locates social relationships within late-nineteenth-century German orchestral music by examining orchestration practices and aesthetics. Wagner's innovations in tone colour, Liszt's use of programmes, and Hanslick's formalism all took attention away from orchestra performers and forged a more direct relationship between audience and composer. This article argues that commercial exchange of serious music displaced social relationships between composer, performer and audience into aesthetic dictums. In particular, the widely agreed upon subordination of orchestration and colour to compositional ‘content’ was a manifestation of the social subordination of performers to composers and resulted in the decreased visibility of performers to consumers. In ultimately breaking from both New German and formalist conventions, Strauss's Don Juan and Mahler's First Symphony brought unwanted attention to orchestration and a renewed focus on performance and performers. In contrast to Wagner's use of doublings, which created timbres without clear instrumental provenance, the orchestration choices of Strauss and Mahler emphasize distinctions between instruments and themes, further highlighting the virtuosic demands they place on performers. Strauss and Mahler made performers into co-producers of their music and raised orchestral colour to the status of content. By employing Marx's concept of commodity fetishism, which Adorno himself largely obscures, this article goes beyond Adorno's and Dahlhaus's analysis of the ‘emancipation of colour’ to show how concert consumption objectified social relations and hierarchies as issues of mere aesthetic form, while compositions themselves became imbued with life-like subjectivity.

On humanistic interpretation of Marx: Communism or narcissism?

This article analyzes two most widespread approaches towards interpretation of the humanistic content of Marx&rsquo;s doctrine, which have developed within the framework of Western Marxism in the 19550s &ndash; 1970s. The first approach &ndash; Marxist humanism &ndash; describes humanism as the &ldquo;initial&rdquo; form of Marx's doctrine of the early period. The second approach &ndash; theoretical antihumanism &ndash; views the concept of &ldquo;humanism&rdquo; as ideological, unscientific and incompatible with Marxism. The analysis of modern Russian and foreign bibliographies indicates the existing ambiguity in assessment of both, Western Marxism and humanistic content of the original ideas of Marx, which defines relevance of this research. The novelty lies in the proposal to view Marxist humanism and theoretical antihumanism in conjunction with the historical establishment of Marx's theory, rather than in contraposition to each other. The author suggest to forgo the interpretation of Marx&rsquo;s ideas from the perspective of humanism or antihumanism. Such interpretation not only idealizes and mystifies the content of his works, but also creates a prerequisite for narcissistic view of the surrounding material objects and nature. The latter thought is reflected in undertaken at the margin of &ldquo;Capital&rdquo; Marx's criticism of the commodity fetishism as one of the central elements of the capitalist manner of production.

The Biopolitics of Synthesizers

This chapter outlines how the design of synthesizers and digital instruments in twenty-first-century EDM reflects a biopolitics of software that arises when sound and signal are analogized as dynamic bodies, and the core practices of music production center on the attempt to control, manipulate, and repair those bodies. Combining Tara Rodgers’ work on metaphor in audio-technical discourse and Robin James’s ideas about EDM and the sonic signatures of neoliberalism, this chapter argues that the intersonic control network of synthesizers—a modular, interconnected system of oscillating waveforms, filters, modulation envelopes, and effects—embodies fundamental shifts in the creative practice of electronic music production, the cultural economy of the music products industry, and the nature of labor in the software and media industries. The blurred lines between production and consumption, hardware and software, and labor and leisure define what the author calls the biopolitics of synthesizers. The author details three aspects of these biopolitics in this chapter, including the relationship between synthesizers and masculinity post-2008, synthesizer design and manufacturing as an agent of neoliberal capitalism, and the nature of commodity fetishism and gearlust in an era of plugins, sample packs, and other types of downloadable content.