Beneath New York: The formations and effects of canons in by Mark Drew Benedetti

By Mark Drew Benedetti

This dissertation examines the improvement and transformation of different cultural formations through examining the relationships among cultural values, impacts, practices of way of life, and canons in such formations. in particular, it examines film-centered cultural formations in big apple City-the Nineteen Sixties underground cinema and Seventies No Wave Cinema-by theorizing them as "undergrounds" cultural activities manifesting the constitution and association of subcultures with a number of the targets and values of avant-gardism. It describes the ways in which those formations constructed formal and casual associations and regimes of worth, regimes established in foundational methods at the valorization of impact and way of life. It analyzes ways that these associations and regimes have been articulated to replacement and/or oppositional cultural, social, and political values and views, and the way they have been additionally articulated to hegemonic values, views, and associations. those latter articulations emerge truly within the canonization procedure, a method that every formation underwent in numerous methods. The dissertation examines those canonization techniques, their relationships with the formations' regimes of price, and their results at the old improvement of the formations. It demonstrates the ways that canonization, usually understood as an inherently hegemonic, conservative method, has a number of results on underground cultural formations, directing tastes and facilitating cooptation whereas additionally encouraging persevered underground cultural perform and supporting within the creation of such paintings, practices, and regimes of worth to new audiences. through reading underground cultural formations throughout the lens of the canon, the dissertation rethinks traditional principles in regards to the methods hegemonic forces acceptable or comprise substitute and oppositional cultural activities, rethinking the obtained historiographies of such routine, the ways that conceptions of belonging and mappings of distinction are developed by means of and for underground formations, and the teachings canonization techniques educate us concerning the function of tradition in social and political competition.

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5 This way of differentiating modernism from avant-gardism has itself come into some degree of question. A. trilogy includes passages written in the form of cinematic newsreels. S. Eliot’s “The Waste Land”: in response to the questions “Are you alive, or not? ” the unnamed narrator can only respond “But/ O O O O that Shakespeherian Rag–/It’s so elegant/So intelligent,” lost as he is amidst the cultural wasteland of early 20th century America (138). What these different modernist takes on popular culture do suggest is that the distinction between modernism and avant-gardism may be more of a continuum than a dichotomy.

Lefebvre's account of everyday life in his 3-volume Critique of Everyday Life and Everyday Life in the Modern World establishes the basic description of everyday life and its place in modernity/postmodernity. The first major point to make about Lefebvre's conception of everyday life is that it is a product of modernity. It is the segmentation and 29 rationalization of society in modernity that leads to the separation of the everyday from the rest of life through the division of labor, the dissociation of art from life, the estrangement from nature, the separation of sign from meaning, the dispersal of communities, and the abstraction of the ritual from the lived (39).

The general "purposelessness" of modern art (as an object of mere contemplation) must be addressed (we see here the element of the utility of mass culture that avant-gardists have taken up), its modes of production (and distribution) must be 47 revolutionized, and its modes of reception must be shifted to allow it to reenter the social. All of these efforts approach the larger goal of revolutionizing the everyday. This position is sometimes described as the "anti-art" position–the avant-garde is sometimes described as working to tear down art entirely and replace it with something else.

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