Misrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art.

Hdl Handle:
http://hdl.handle.net/10034/617610
Title:
Misrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art.
Authors:
Grennan, Simon
Abstract:
This paper will consider some of the relationships between subjects, social institutions, media and ideas that characterise differences between the environments in which both comics and fine art are produced, used and become comprehensible. It will outline a specific theoretical framework encompassing these differences, describing the discursive co-dependency between forms of media, the uses to which they are put and the habits of thought and expectation engendered by these uses. This encompassing theoretical frame draws in particular upon Althusser, Bourdieu and Hodge and Kress, describing these relationships as ideology, deriving from Karl Mannheim’s and Marx and Engels’ critiques of ideocracy, the promotion of or resistance to ideas on the grounds of the degree to which they reproduce or contradict a dominant social structure. Utilising examples in the productions and social histories of fine artists Jean-Michel Basquiat, Billy Childish, Raymond Peittbon, Lichtenstein and Manet and comics artists Grennan & Sperandio, Janette Parris and Gary Panter, the paper will explore how the relationships between the dominant ideas of one group of people, and the world experiences of other groups, include misrecognition. Those ideas that dominate social discourse in any particular circumstance are not actively misrepresented by the dominant order, according to this model, but rather misrecognised and either overlooked or accepted by others for whom they are materially disadvantageous. Referring to social studies of the fine art world by Zolberg, Danto and Dickie, and to Beaty’s recent commentary on the roles of fan culture, authorlessness and the dynamics of ‘outsider’ status, in creating the social environment of comics, the paper will finally suggest that the degrees and types of this misrecognition constitute two distinct, though continually developing, sets of social constraints that underwrite the possible meanings and uses of comics and fine art, by continually substantiating the histories of their own milieux.
Affiliation:
University of Chester
Citation:
Grennan, S. (2016). Misrecognising misrecognition: the capacity to influence in the milieux of comics and fine art. Image [&] Narrative, 17(3).
Journal:
Image [&] Narrative
Publication Date:
1-Oct-2016
URI:
http://hdl.handle.net/10034/617610
Additional Links:
http://www.imageandnarrative.be
Type:
Article
Language:
en
Description:
Main article
ISSN:
1780-678X
Appears in Collections:
Art and Design

Full metadata record

DC FieldValue Language
dc.contributor.authorGrennan, Simonen
dc.date.accessioned2016-07-27T11:31:59Z-
dc.date.available2016-07-27T11:31:59Z-
dc.date.issued2016-10-01-
dc.identifier.citationGrennan, S. (2016). Misrecognising misrecognition: the capacity to influence in the milieux of comics and fine art. Image [&] Narrative, 17(3).en
dc.identifier.issn1780-678X-
dc.identifier.urihttp://hdl.handle.net/10034/617610-
dc.descriptionMain articleen
dc.description.abstractThis paper will consider some of the relationships between subjects, social institutions, media and ideas that characterise differences between the environments in which both comics and fine art are produced, used and become comprehensible. It will outline a specific theoretical framework encompassing these differences, describing the discursive co-dependency between forms of media, the uses to which they are put and the habits of thought and expectation engendered by these uses. This encompassing theoretical frame draws in particular upon Althusser, Bourdieu and Hodge and Kress, describing these relationships as ideology, deriving from Karl Mannheim’s and Marx and Engels’ critiques of ideocracy, the promotion of or resistance to ideas on the grounds of the degree to which they reproduce or contradict a dominant social structure. Utilising examples in the productions and social histories of fine artists Jean-Michel Basquiat, Billy Childish, Raymond Peittbon, Lichtenstein and Manet and comics artists Grennan & Sperandio, Janette Parris and Gary Panter, the paper will explore how the relationships between the dominant ideas of one group of people, and the world experiences of other groups, include misrecognition. Those ideas that dominate social discourse in any particular circumstance are not actively misrepresented by the dominant order, according to this model, but rather misrecognised and either overlooked or accepted by others for whom they are materially disadvantageous. Referring to social studies of the fine art world by Zolberg, Danto and Dickie, and to Beaty’s recent commentary on the roles of fan culture, authorlessness and the dynamics of ‘outsider’ status, in creating the social environment of comics, the paper will finally suggest that the degrees and types of this misrecognition constitute two distinct, though continually developing, sets of social constraints that underwrite the possible meanings and uses of comics and fine art, by continually substantiating the histories of their own milieux.en
dc.language.isoenen
dc.relation.urlhttp://www.imageandnarrative.been
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectcomicsen
dc.subjectfine arten
dc.subjectideologyen
dc.titleMisrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art.en
dc.typeArticleen
dc.contributor.departmentUniversity of Chesteren
dc.identifier.journalImage [&] Narrativeen
dc.date.accepted2016-07-01-
or.grant.openaccessYesen
rioxxterms.funderNoneen
rioxxterms.identifier.projectNoneen
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2016-10-01-
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