任何过着私人生活的人都相信金钱。格特鲁德·斯坦,大萧条,以及金钱的抽象化

Q3 Arts and Humanities Nordic Journal of Aesthetics Pub Date : 2020-11-22 DOI:10.7146/nja.v29i60.122838
S. Daugaard
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引用次数: 0

摘要

这篇文章考虑了格特鲁德·斯坦在20世纪30年代中期的一些明确的政治作品中对经济日益抽象的反思,包括“政治系列”(1935),以及她对“钱”的五篇简短的报纸评论:“钱”,“更多关于钱”,“更多关于钱”,“关于钱的一切”和“关于钱的最后一篇”(1936)。然后,文章将它们与沃尔特·本雅明(Walter Benjamin)和乔治·阿甘本(Giorgio Agamben)关于货币体系的宗教含义的观点联系起来,这些观点与斯坦因(Stein)对“货币信徒”的致敬产生了共鸣,后者认为货币是对抗当代威权主义倾向的安全保障。斯坦的评论文章反对税收、工会主义和公共开支,但也表明了她明确的保守主义、她的经济自由主义和她仍然存在的激进主义之间的微妙过渡,以及对父权权威的批评,因为他们从同时代的作品中回收了关键元素,如《美国地理历史》(1935)和《每个人的自传》(1937)。
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ANYBODY LIVING A PRIVATE LIFE IS A BELIEVER IN MONEY. GERTRUDE STEIN, THE GREAT DEPRESSION, AND THE ABSTRACTION OF MONEY
The article considers Gertrude Stein’s reflections about the increasing abstraction of economics in response to the Great Depression and Roosevelt’s New Deal in a number of explicitly political pieces from the mid-1930s, including “A Political Series” (1935), and her five brief newspaper commentaries on “money”: ”Money”, “More About Money”, “Still More About Money”, “All About Money”, and “My Last About Money” (1936). The article then relates them to Walter Benjamin’s and Giorgio Agamben’s ideas about the religious implications of the money system that resonate with Stein’s salute to the “believer in money” as security against contemporary authoritarian tendencies. Stein’s opinion pieces argue against taxation, unionism, and public spending, yet also demonstrate the slippery passage between her explicit conservatism, her economic liberalism and her still present radicalism and critique of patriarchal authority as they recycle crucial elements from contemporaneous works such The Geographical History of America (1935) and Everybody’s Autobiography (1937).
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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