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xi | |
Acknowledgements |
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xiii | |
Introduction |
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1 | (2) |
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1 | (2) |
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1 The Emergence of the Romantic Subject |
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3 | (27) |
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1.1 Subjectivity and the Enlightenment |
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3 | (1) |
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1.2 Rousseau's Reconceptualization of the Subject |
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4 | (4) |
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1.2.1 The Two Types of Self Love |
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5 | (1) |
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1.2.2 The Importance of Childhood |
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6 | (1) |
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1.2.3 The Conditions for Authenticity |
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7 | (1) |
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1.3 Francisco Goya 1746--1828 |
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8 | (12) |
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1.3.1 The Cabinet Pictures |
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9 | (2) |
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11 | (4) |
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1.3.3 The Disasters of War |
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15 | (1) |
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1.3.4 The "Black Paintings" |
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16 | (4) |
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1.4 Kant's Subjectification of Aesthetic Judgement |
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20 | (10) |
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1.4.1 Disinterestedness and Subjective Universality |
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21 | (1) |
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1.4.2 Genius, Spirit, and Exemplary Originality |
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22 | (3) |
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1.4.3 Later Misappropriations and Criticisms of Kant's Critique |
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25 | (5) |
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2 Art and Subjectivity in Post-Kantian Germany |
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30 | (22) |
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2.1 The German Romantics and Idealists |
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30 | (10) |
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2.1.1 The Counter-Enlightenment |
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31 | (1) |
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2.1.2 Romantic Metaphysics |
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32 | (3) |
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2.1.3 The Singularity of the Subject |
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35 | (3) |
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2.1.4 The Communality of the Subject |
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38 | (2) |
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40 | (2) |
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2.3 Nietzsche's Quest for Meaning |
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42 | (9) |
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51 | (1) |
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3 The Battle for Modernism |
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52 | (30) |
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3.1 Secularization, Disenchantment, and Spirituality |
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52 | (2) |
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3.2 The Avant-Gardes of Modernism |
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54 | (14) |
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3.2.1 The Aesthetic Avant-Garde |
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55 | (2) |
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3.2.2 Aestheticism and the Autonomy of Art |
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57 | (4) |
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3.2.3 Authenticity and Originality |
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61 | (2) |
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3.2.4 The Freudian Subject |
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63 | (1) |
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3.2.5 Primitivism and Spontaneity |
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64 | (3) |
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3.2.6 Commodification and Kitsch |
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67 | (1) |
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3.3 The Case of Die Brucke |
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68 | (5) |
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3.4 The Anti-aesthetic Avant-Garde |
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73 | (9) |
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73 | (3) |
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76 | (3) |
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3.4.3 Duchamp's Indifference |
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79 | (3) |
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4 The Critique of Autonomy and the Disavowal of Agency |
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82 | (28) |
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82 | (2) |
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4.2 The Critique of Autonomous Art |
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84 | (4) |
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4.3 The Re-enchantment of Society |
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88 | (4) |
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4.4 Andy Warhol: The Man Who Became His Own Artwork |
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92 | (18) |
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4.4.1 The Search for Originality |
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92 | (1) |
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4.4.2 The Repudiation of Personal Style |
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93 | (6) |
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4.4.3 The Factory and the Apparent Dispersal of Agency |
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99 | (1) |
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4.4.4 Warhol's "Dispersal of Agency" |
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100 | (3) |
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4.4.5 Self-Negation and the Performance of Indifference |
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103 | (3) |
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4.4.6 Warhol's Pursuit and Manipulation of Celebrity |
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106 | (4) |
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5 Appropriation and the Critique of Originality |
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110 | (26) |
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110 | (4) |
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5.2 The Uniqueness of the Subject and Personal Style |
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114 | (10) |
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5.2.1 The Lacanian Subject |
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115 | (4) |
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5.2.2 The Repudiation of Personal Style |
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119 | (3) |
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5.2.3 Singularity of the Subject Guarantees Singularity of the Object |
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122 | (2) |
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124 | (9) |
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125 | (2) |
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5.3.2 Elaine Sturtevant: From a Discourse of Copy to a Discourse of Energy |
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127 | (6) |
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5.4 Frederick Jameson: Everything New Has Already Been Done |
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133 | (3) |
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6 Social Art Practices Part 1: Production |
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136 | (22) |
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136 | (2) |
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6.2 Critique of the Sole Author |
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138 | (10) |
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6.2.1 The Theological Argument |
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139 | (1) |
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6.2.2 Singularity or Solidarity? |
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140 | (3) |
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6.2.3 The Intrinsic Inter-subjectivity of the Subject: Jung, Winnacott, Buber, and Levinas |
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143 | (5) |
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6.3 Models of Collaboration |
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148 | (10) |
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6.3.1 Collaboration between Equals |
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149 | (2) |
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6.3.2 Collaboration between Artists Who Are Each Assigned a Different Role |
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151 | (3) |
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6.3.3 Collaboration with the Public under a Lead Artist |
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154 | (4) |
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7 Social Art Practices Part II: The Art Object and the Ideology of Reception |
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158 | (21) |
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158 | (6) |
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7.1.1 The Continuing Critique of Autonomy |
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158 | (2) |
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7.1.2 Commodification Anxiety |
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160 | (2) |
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7.1.3 Benjamin's Auratic Object |
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162 | (1) |
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7.1.4 The Afterlife of the Object |
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163 | (1) |
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7.2 Reception: The Problem of Evaluation |
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164 | (10) |
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7.2.1 Evaluation Based on Social Effect |
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165 | (3) |
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7.2.2 Contemplative Enjoyment as Negation of Critique |
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168 | (2) |
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7.2.3 The Assumption of Passive Spectatorship |
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170 | (2) |
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7.2.4 Critique of the Institution |
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172 | (1) |
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7.2.5 A New Public for Art |
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173 | (1) |
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7.3 Reception in a Monumental Time Frame |
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174 | (1) |
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7.4 Democratic Evaluation as a Category Error |
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175 | (1) |
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7.5 The Exclusion of Democratic Art Practices |
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176 | (3) |
Conclusion |
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179 | (2) |
Cited Sources |
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181 | (14) |
Index |
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195 | |