The Subversive Imagination: The Artist, Society, and Social Responsibility

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New York, NY 1994 Hard Cover First Thus Good + No Jacket 8vo-over 7?"-9?" tall. Signed by Author 258pp. Index. Original boards. Signed by Carol Becker on front flyleaf; no ... inscription. Pages are clean (no writing, underlining, or highlighting). Binding is tight with no cracks or breaks. Very light rubbing to extremities, light scuffing to covers. This is not a remainder or ex-library. No previous owner markings. Very nice copy. Read more Show Less

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Debate about how artists express political content in their work ``has been disappointingly constrained'' in America, according to Becker in her introduction to this collection of essays by intellectuals and artists from a number of different nationalities and perspectives. Highlights of part one, ``Personal Responsibility and Political Contingencies,'' include Page Dubois's discussion of autonomous art (as opposed to political art) as a relatively new idea and Kathy Acker's brassy parable of a post-modern writer struggling with her loss of belief in the possibility of ``art in this culture.'' Part two, ``Decolonizing the Imagination,'' features Becker's own prescription to read Marcuse as a ``stronghold against the nihilism and denigration that at times threaten to engulf'' our current sensibility; and Michael Eric Dyson's consideration of the ``new black cinema'' and its potential for effecting social change. The book ends in a section titled ``Theorizing the Future,'' in which Henry Giroux's discussion of the false image of progressiveness in Benetton ads and B. Ruby Rich's first-person meditation on how the ``old models for political engagement in art are not working'' project views of an art world to come. While much of the language here is academic (``Rap developed as a relatively independent expression of black male artistic rebellion against the black bourgeois Weltanschauung ''), the overall subject matter extends well beyond academe to post-revolutionary Czechoslovakia, an activist's prison life and struggling artists in Mexico City. (May)
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Product Details

  • ISBN-13: 9780415905916
  • Publisher: Taylor & Francis, Inc.
  • Publication date: 3/1/1994
  • Pages: 256
  • Product dimensions: 8.00 (w) x 10.00 (h) x 2.00 (d)

Table of Contents

Acknowledgments
Introduction: Presenting the Problem
Pt. 1 Personal Responsibility and Political Contingencies
1 The Prehistory of Art: Cultural Practices and Athenian Democracy 1
2 A Plea for Irresponsibility 13
3 Dead Doll Prophecy 20
4 The Heuristic Power of Art 35
5 Place, Position, Power, Politics 55
6 The Velvet Revolution and Iron Necessity 77
7 El Diario de Miranda/Miranda's Diary 95
Pt. 2 Decolonizing the Imagination
8 Herbert Marcuse and the Subversive Potential of Art 113
9 East and West - The Twain Do Meet: A Tale of More than Two Worlds 130
10 Defining South African Literature for a New Nation 148
11 The Politics of Black Masculinity and the Ghetto in Black Film 154
12 Adjusting to the World According to Salman Rushdie 168
Pt. 3 Theorizing the Future
13 Benetton's "World Without Borders": Buying Social Change 187
14 The Free Art Agreement/El Tratado de Libre Cultura 208
15 Dissed and Disconnected: Notes on Present Ills and Future Dreams 223
Index 249
Contributors 257
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