Show simple item record

dc.contributor.authorGrennan, Simon*
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).
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.
dc.language.isoenen
dc.relation.urlhttp://www.imageandnarrative.be
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectcomics
dc.subjectfine art
dc.subjectideology
dc.titleMisrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art.
dc.typeArticle
dc.contributor.departmentUniversity of Chesteren
dc.identifier.journalImage [&] Narrative
dc.date.accepted2016-07-01
or.grant.openaccessYesen
rioxxterms.funderNoneen
rioxxterms.identifier.projectNoneen
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2016-10-01
refterms.dateFCD2019-07-16T08:47:18Z
refterms.versionFCDAM
refterms.dateFOA2016-10-01T00:00:00Z
html.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.


Files in this item

Thumbnail
Name:
Grennan_Image [&] Narrative_Ar ...
Size:
76.5Kb
Format:
Microsoft Word
Description:
Main article

This item appears in the following Collection(s)

Show simple item record

http://creativecommons.org/licenses/by-nc-nd/4.0/
Except where otherwise noted, this item's license is described as http://creativecommons.org/licenses/by-nc-nd/4.0/