Abstract
The three negative identities most explicitly associated with art/culture: philistinism, vandalism and iconoclasm, are examined in this chapter. Surveying each of these negative identities in turn it is demonstrated how partial they are when it comes to a renunciation of art/culture. This partial nature certainly has something to do with the aforementioned ambiguity of ‘art’ and ‘culture’; with philistinism focused solely on the perceived elite asceticism of ‘high art’, vandalism on ‘art’ as property and iconoclasm on ‘art’ as blasphemous idol. But more telling is how even the most explicit ‘anti-art’ position cannot bring itself to fully excoriate what it is supposed to target. Indeed many of these negations turn out to be attacks on ‘false art’ and celebrations of ‘true art’.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Perhaps he reconciled this contradiction the same way Jean-Jacques Rousseau (1978, 544–5) did, by blaming his passions for leading him to involvement in the fine arts after he had already condemned them. In his Discourse on Arts and Science Rousseau attacks the moral danger that the fine arts lead people into, predating Laing’s own moral panic by nearly a century (ibid., 553n3). However Laing’s philistinism was a celebration of bourgeois progress while Rousseau’s critique was a jeremiad against progress, the ‘arts and sciences’ lumped together as the combined corruption of civilisation. It is worth noting that Rousseau’s critique went on to influence Romanticism , indeed there is a lot of resonance in William Wordsworth’s (in Shiner 2001, 234) famous lines from The Tables Turned: ‘We murder to dissect/Enough of Science and of Art/Close up those barren leaves.’ Like Rousseau, Wordsworth himself could not be said to have resisted the lures of fine art and, in fact, Shiner (2001, 234) surmises that, ‘in calling Art barren, he may have been aiming at the artificial diction of established poetic language’. In any case the fine arts would become the allies rather than enemies of the critique of Enlightenment reason after the Romantics inherited it from Rousseau.
- 2.
Once again we have an echo of Rousseau (1978, 547): ‘The taste for arts and letters and for philosophy can then only annihilate in us the love of basic duty and true glory.’ This demonstrates clearly the lineage the anti-Enlightenment critique, which would become the Romantic movement , had with Nazism.
- 3.
Since this was written the Trump Presidency has seen a more Laingian position being taken, with a threat to end the NEA entirely (Deb 2017). Whether such a cut goes ahead, without a replacement for any federal patronage, not to mention wasteful tax credits for corporate donations, is to be seen.
- 4.
This is quite a common move, which will be seen more and more in this and the following chapter, whereby anything positive associated with art/culture is deemed to be intrinsic to art/culture and anything negative (particularly the stultifying elitist aura) is blamed on extrinsic aesthetic theories. For just a few examples see David Carroll’s (1987, xiv) notion of ‘paraesthetics’, Stuart Sim’s (1992) Beyond Aesthetics, and Hal Foster’s (1983) edited collection The Anti-Aesthetic. The upshot, as will be seen, is that a lot of supposedly iconoclast, philistine or vandalising attacks on art/culture turn out to be rather limited, and not particularly controversial, critiques of a strawman of ‘aesthetics ’. I say strawman because, apart from anything else, these attacks do an injustice to the concept of aesthetics, not simply by conflating it to a narrow, formalist theory of art/culture, but by conflating it with art/culture at all. For more on how aesthetics should be seen as more complex and dynamic than its misapplication to the concept of beauty allows see Dee 2012.
- 5.
Louis Althusser ([1965] 2005, 227) famously declared that from 1845 Marx broke with his previous humanist philosophy, setting up a distinction between a ‘young Marx’ still heavily influenced by Romantic and Hegelian idealism and a mature Marx that saw humanism as an ideological obfuscation of relations of production.
- 6.
An example of one who takes the passage seriously enough to derive a fundamental truth about humanity from it is Sebastiano Timpanaro ([1970] 1980, 52):
we should not forget … that this cultural continuity – through which, as Marx observed, we feel so near to the poetry of Homer – has also been rendered possible by the fact that man [sic] as a biological being has remained essentially unchanged from the beginnings of civilization to the present.
- 7.
- 8.
Though Bull (2002, 58) notes that Nietzsche never embraced philistinism, indeed ‘as he welcomed the devaluation of all moral values, Nietzsche invested the aesthetic with heightened significance’, nonetheless he claims a form of philistinism is available through Nietzsche. This is elaborated in Bull’s (2011, 15) later Anti-Nietzsche as the figure of Socrates , whom Nietzsche, at least implicitly, associates with the philistine vices of complacent acceptance of ordinary experience and sober reason. This Socrates is somewhat of a Nietzschean caricature and, in trying to create a Socratic philistinism to counter Nietzsche, Bull (2011, 26) is likewise forced to contort Socrates: ‘Rather than the Socrates who practises music, philistinism leaves us with the Socrates in whose eyes artistic enthusiasm has never glowed’. Of course Socrates’ enthusiasm or otherwise was directed toward mimemata and, while Bull (2011, 39) nominally embraces a philistinism that negates more than ‘traditional aesthetics’, it is still aesthetics-as-callistics that remains the negative focus: ‘We will think of ourselves as philistines who are unable to appreciate what is supposedly the aesthetic dimension of experience; as people who have no taste or discrimination, no capacity to appreciate the finer things in life’ (ibid.).
- 9.
‘For Andy Warhol to paint an automobile seems natural. His studio was known as a factory and his greatest fame came from portraying Campbell’s Soup cans.’ (BMWDrives 2007a, para. 2); ‘When asked if he was pleased with the end result, he replied, “I love the car; it’s better than the work of art itself”’ (ibid., para. 6 emphasis in original).
- 10.
Some artists, such as Audrey Flack, separate their kitsch-inspired work from ‘artworld kitsch’ on the basis that the latter uses ironic distance whereas they have sincere emotional attachment to the imagery. This may or may not be the case, but apart from the fact that, like any other artist, it is her creative subjectivity that is front and centre, Olalquiaga (1992, 50) makes the point that her use of Spanish Marian cult imagery is abstracted from the Marian tradition: ‘A syncretist, she takes elements from any religion that suits her needs, in an interchangeability that renders the specificity of religious traditions secondary.’
- 11.
Anger at the monetary value ascribed to the painting, while Kleer himself was in a state of destitution, was certainly one of the reasons Kleer gave for his attack. But motivation is always problematic in vandalism, as it is the lack of ‘rational intention’ that marks it out from other forms of destructive negation. As in so many of these cases Kleer’s history of mental illness was brought up to downplay his justification for the attack. Interestingly though, one of these justifications included that he himself was an artist contributing to, rather than negating, Newman’s work (Siebers 2002, § III). This notion of unauthorized ‘alterations’ to works as assisting rather than attacking art/culture will be examined in the next section on iconoclasm.
- 12.
There is some debate about whether it was really al-Qaeda members who were behind the attacks (Flood 2002, 658n103), but for the purposes of this discussion it will be assumed it was primarily a Taliban act.
- 13.
Of course it could be that because, as Sheila Fitzpatrick (1978, 8) notes, Lenin believed that ‘cultural power’ had to be ‘patiently acquired’, he was only pretending to love ‘bourgeois art’ as a calculated stage in the eventual revolutionary abolition of art/culture. But all the evidence points to fine art being part of Lenin’s communist vision.
- 14.
Kelly (2003, 7) complains about the lack of ‘historical particularity’ within his iconoclast rogues’ gallery, but he himself blurs mimemata and art/culture together and the only particularity he is interested in is the stylistic elements of works that he ‘deciphers’ as radical truth. For more on this see the next chapter.
- 15.
‘Actually that he [Baudrillard], who admittedly had no artistic claim or pedigree, would be invited to exhibit his work, amply proved his point: there was nothing special anymore about art’ (Lotringer 2005, 16). Wow, even a haute bourgeois celebrity-academic can be an artist now! The jig is truly up!
- 16.
This is a reference to Situationist-attributed graffiti found around the streets of Paris during the May 1968 uprisings: Sous les pavés, la plage [Under the paving stones, the beach].
References
Adorno, Theodor. (1970) 1984. Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann. Trans. C. Lenhardt. London: Routledge & Kegan Paul.
———. 2004. Philosophy of New Music. Trans. Anne G. Mitchell and Wesley V. Blomster. New York: Continuum.
Agamben, Giorgio. (1994) 1999. The Man Without Content. Trans. Georgia Albert. Stanford: Stanford University Press.
Althusser, Louis. (1965) 2005. For Marx, ed. and trans. Ben Brewster. London: Verso.
Argyle, Gisela. 2002. Germany as Model and Monster: Allusions in English Fiction, 1830s–1930s. Montreal: McGill-Queen’s University Press.
Australian Minister for Communications, Information Technology and the Arts. 2007. Who Are the New Philistines? Australian Department of Communications, Information Technology and the Arts. http://www.minister.dcita.gov.au/brandis/media/speeches/2007/address_to_the_national_press_club. Accessed 13 Nov 2007.
Ball, Edward. 1987. The Great Sideshow of the Situationist International. Yale French Studies 73: 21–37.
Barber, Charles. 1997. The Truth in Painting: Iconoclasm and Identity in Early-Medieval Art. Speculum 72 (4): 1019–1036.
Baudrillard, Jean. 2005. The Conspiracy of Art: Manifestos, Interviews, Essays, ed. Sylvère Lotringer. Trans. Ames Hodges. New York: Semiotext(e).
Beech, Dave, and John Roberts. 2002a. Spectres of the Aesthetic. In The Philistine Controversy, ed. Dave Beech and John Roberts, 13–47. London: Verso.
———. 2002b. Tolerating Impurities: An Ontology, Genealogy and Defence of Philistinism. In The Philistine Controversy, ed. Dave Beech and John Roberts, 125–160. London: Verso.
———. 2002c. The Philistine and the Logic of Negation. In The Philistine Controversy, ed. Dave Beech and John Roberts, 272–299. London: Verso.
Beker, Miroslav. 1970. Marxism and the Determinants of Critical Judgment. The Journal of Aesthetics and Art Criticism 29 (1): 33–41.
Bentham, Jeremy. 1830. The Rationale of Reward. London: Robert Heward.
Berger, John. 1972. Ways of Seeing: Based on the BBC Television Series. London: Penguin.
BMWDrives. 2007a. BMW Art Cars: BMW M1 Art Car—Andy Warhol 1979. BMWDrives. http://www.bmwdrives.com/artcars/bmw-artcarswarhol.php. Accessed 12 Feb 2013.
———. 2007b. BMW Art Cars: BMW V12 LMR Art Car—Jenny Holzer 1999. BMWDrives. http://www.bmwdrives.com/artcars/bmw-artcarsholzer.php. Accessed 12 Feb 2013.
Buck-Morss, Susan. 1992. Aesthetics and Anaesthetics: Walter Benjamin’s Artwork Essay Reconsidered. October 62: 3–41.
Bull, Malcolm. 2002. The Ecstasy of Philistinism. In The Philistine Controversy, ed. Dave Beech and John Roberts, 48–72. London: Verso.
———. 2011. Anti-Nietzsche. London: Verso.
Calhoun, Craig. 1995. Critical Social Theory: Culture, History, and the Challenge of Difference. Cambridge: Blackwell.
Carroll, David. 1987. Paraesthetics: Foucault, Lyotard, Derrida. New York: Methuen.
Caygill, Howard. 2000. The Absolute Monochrome: A Response to Batchelor. In From an Aesthetic Point of View: Philosophy, Art and the Senses, ed. Peter Osborne, 177–181. London: Serpent’s Tail.
Clark, Timothy, Christopher Gray, Donald Nicholson-Smith, and Charles Radcliffe. 1967. The Revolution of Modern Art and the Modern Art of Revolution. Situationist International Online. http://www.cddc.vt.edu/sionline/si/modernart.html. Accessed 13 Nov 2012
Deb, Sopan. 2017. Trump Proposes Eliminating the Arts and Humanities Endowments. The New York Times, March 15. https://www.nytimes.com/2017/03/15/arts/nea-neh-endowments-trump.html?_r=0. Accessed 15 June 2017.
Debord, Guy. (1967) 1983. Society of the Spectacle. Detroit: Black & Red.
Dee, Liam. 2012. A Terrible Beauty: Aesthetics Against Callistics. The Senses and Society 7 (3): 289–308.
Deleuze, Gilles. (1964) 2000. Proust and Signs. Trans. Richard Howard. London: The Athlone Press.
Derrida, Jacques. (1982) 1985. The Ear of the Other: Otobiography, Transference, Translation, ed. Christie McDonald. Trans. Avital Ronell and Peggy Kamuf. Lincoln: University of Nebraska Press.
Doherty, Brigid. 2003. The Work of Art and the Problem of Politics in Berlin Dada. October 105: 73–92.
Dr Sketchy. n.d. Frequently Asked Questions. Dr. Sketchy’s Anti-Art School. http://www.drsketchy.com/faq. Accessed 13 Jan 2013.
Fitzpatrick, Sheila. 1978. Cultural Revolution in Russia, 1928–1931. Bloomington: Indiana University Press.
Flood, Finbarr Barry. 2002. Between Cult and Culture: Bamiyan, Islamic Iconoclasm, and the Museum. The Art Bulletin 84 (4): 641–659.
Foster, Hal. 1983. The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend: Bay Press.
Freud, Sigmund. 1997. Writings on Art and Literature. Stanford: Stanford University Press.
Fuller, Peter. 1988. Seeing Through Berger. London: The Claridge Press.
Gamboni, Dario. 1997. The Destruction of Art: Iconoclasm and Vandalism Since the French Revolution. London: Reaktion Books.
Gell, Alfred. 1992. The Technology of Enchantment and the Enchantment of Technology. In Anthropology, Art and Aesthetics, ed. Jeremy Coote and Anthony Shelton, 40–63. Oxford: Clarendon Press.
Hegel, G.W.F. (1886) 1993. Introductory Lectures on Aesthetics, ed. Michael Inwood. Trans. Bernard Bosanquet. London: Penguin Books.
Henri, Adrian. 1974. Total Art: Environments, Happenings, and Performance. New York: Praeger Publishers.
Home, Stewart. 1988. The Assault on Culture: Utopian Currents from Lettrisme to Class War. London: Aporia Press and Unpopular Books.
Ionescu, Paris. 2009. Artists Who Have Urinated in/on Duchamp’s Fountain. antARTica: Art, Theory, Politics, Party Time. http://blog.selfportrait.net/2009/09/29/artists-who-have-urinated-inon-duchamps-fountain/. Accessed 12 April 2012.
Jameson, Frederic. (1990) 1996. Late Marxism: Adorno, or, the Persistence of the Dialectic. London: Verso.
Kelly, Michael. 2003. Iconoclasm in Aesthetics. Cambridge: Cambridge University Press.
Kemal, Salim, Ivan Gaskell, and Daniel M. Conway. 1998. Nietzsche and Art. In Nietzsche, Philosophy and the Arts, ed. Salim Kemal, Ivan Gaskell, and Daniel M. Conway, 1–12. Cambridge: Cambridge University Press.
Kustow, Michael. 2001. Art Attacks: Michael Kustow Investigates the History of Jewish Iconoclasm in Idolizing Pictures: Idolatry, Iconoclasm and Jewish Art by Anthony Julius. Guardian Unlimited Books. http://books.guardian.co.uk/reviews/artsandentertainment/0,6121,441988,00.html. Accessed 26 Feb 2001.
Lazzarato, Maurizio. 2008. Art, Work and Politics in Disciplinary Societies and Societies of Security. Trans. Alberto Toscano. Radical Philosophy 149: 26–32.
Leslie, Esther. 2002. Philistines and Art Vandals Get Upset. In The Philistine Controversy, ed. Dave Beech and John Roberts, 201–227. London: Verso.
Loos, Adolf. (1908) 2002. Ornament and Crime. In Crime and Ornament, the Arts and Popular Culture in the Shadow of Adolf Loos, ed. Bernie Miller and Melony Ward, 29–36. Toronto: XYZ Books.
Long Bow Group. 1966. Literature and Art Workers Hold Rally for Great Proletarian Cultural Revolution. Peking Review 50, (9 December 9): 5–9. Morning Sun: A Film and Website About Cultural Revolution. http://www.morningsun.org/stages/pr_dec_9_1966.html. Accessed 12 May 2013.
Lotringer, Sylvère. 2005. Introduction. In The Conspiracy of Art: Manifestos, Interviews, Essays, ed. Sylvère Lotringer. Trans. Ames Hodges, 9–21. New York: Semiotext(e).
Lowenthal, David. 1989. Material Preservation and Its Alternatives. Perspecta 25: 67–77.
Mansfield, Elizabeth. 2005. The New Iconoclasm. Art Journal 64 (1): 20–31.
Marcuse, Herbert. 1972. Negations: Essays in Critical Theory. Trans. Jeremy J. Shapiro. London: Penguin Books.
Martin, Stewart. 2002. The Philistine Controversy: Introduction. In The Philistine Controversy, ed. Dave Beech and John Roberts, 1–10. London: Verso.
Marx, Karl. 1844. Letter from Marx to Arnold Ruge in Dresden. Marxists Internet Archive. http://www.marxists.org/archive/marx/works/1843/letters/43_05-alt.htm. Accessed 3 Feb 2014.
———. 1970. Preface to a Contribution to the Critique of Political Economy. London: Lawrence & Wishart.
———. (1939) 1973. Grundrisse: Foundations of the Critique of Political Economy (Rough Draft). Trans. Martin Nicolaus. Harmondsworth: Penguin
———. 1979. Marx’s Economic Manuscripts of 1861–63. Part 3) Relative Surplus Value: k) Productivity of Capital. Productive and Unproductive Labour. Trans. Ben Fowkes. Marxists Internet Archive. https://www.marxists.org/archive/marx/works/1861/economic/ch38.htm. Accessed 4 Feb 2014.
Marx, Karl, and Friedrich Engels. 1970. The German Ideology: Volume One of German Ideology and Selections from Parts Two and Three and Supplementary Texts, ed. C.J. Arthur. New York: International Publishers.
McDonald, John. 2006. Art Attacks. Sydney Morning Herald: Good Weekend, January 14: 20–23.
Mitchell, W.J.T. 1986. Iconology: Image, Text, Ideology. Chicago/London: The University of Chicago Press.
Mitchell, Stanley. 1997. Mikhail Alexandrovich Lifshits (1905–1983). Oxford Art Journal 20 (2): 23–41.
Mufti, Shahan. 2011. Spoils of War: Excavating the Underground Trade in Buddhist Antiques. Harper’s Magazine 322 (1931): 38–44.
Murphy, Sinéad. 2012. The Art Kettle. Winchester: Zero Books.
Nardi, Sarah. 2008. ‘I Wanted to Paint Nothing’: Warhol Managed to Encapsulate the Increasing Emptiness of Modern Existence. If You Want More Meaningful Art, Build a More Meaningful World. Adbusters 80. http://www.adbusters.org/magazine/80/andy_warhol.html. Accessed 26 Sep 2008.
Nietzsche, Friedrich. 1967. On the Genealogy of Morals; Ecce Homo, ed. Walter Kaufmann. Trans. Walter Kaufmann and R.J. Hollingdale. New York: Vintage Books.
Olalquiaga, Celeste. 1992. Megalopolis: Contemporary Cultural Sensibilities. Minneapolis: University of Minnesota Press.
Osborne, Thomas. 2003. Against ‘Creativity’: A Philistine Rant. Economy and Society 32 (4): 507–525.
Pasztory, Esther. 2005. Thinking with Things: Toward a New Vision of Art. Austin: University of Texas Press.
Petts, Jeffrey. 2012. Review Articles: The Necessity of Art, Ernst Fischer, with an Introduction by John Berger, London: Verso, 2010. Historical Materialism 20 (2): 195–209.
Pitkin, Hann Fenichel. 1990. Slippery Bentham: Some Neglected Cracks in the Foundation of Utilitarianism. Political Theory 18 (1): 104–131.
Porter, Bernard. 1991. ‘Monstrous Vandalism’: Capitalism and Philistinism in the Works of Samuel Laing (1780–1868). Albion: A Quarterly Journal Concerned with British Studies 23 (2): 253–268.
Rancière, Jacques. 2000. What Aesthetics Can Mean. In From an Aesthetic Point of View: Philosophy, Art and the Senses, ed. Peter Osborne, 13–33. London: Serpent’s Tail.
———. (1983) 2003. The Philosopher and His Poor. Trans. John Drury, Corinne Oster, and Andrew Parker. Durham: Duke University Press.
———. (2000) 2004. The Politics of Aesthetics: The Distribution of the Sensible. Trans. Gabriel Rockhill. London: Continuum.
Rasmussen, Mikkel Bolt. 2002. Art and Politics After September 11: Exodus, Intervention or Hospitality? Third Text 16 (4): 345–355.
Ridley, Aaron. 1998. What Is the Meaning of Aesthetic Ideals? In Nietzsche, Philosophy and the Arts, ed. Salim Kemal, Ivan Gaskell, and Daniel M. Conway, 128–147. Cambridge: Cambridge University Press.
Rose, Margaret A. 1984. Marx’s Lost Aesthetic: Karl Marx and the Visual Arts. Cambridge: Cambridge University Press.
Rousseau, Jean-Jacques. 1978. A Preface to ‘Narcisse: Or the Lover of Himself’. Political Theory 6 (4): 543–554.
Shiner, Larry. 2001. The Invention of Art: A Cultural History. Chicago: The University of Chicago Press.
Siebers, Tobin. 2002. Broken Beauty: Disability and Art Vandalism. Michigan Quarterly Review 41 (2) http://quod.lib.umich.edu/cgi/t/text/text-idx?cc=mqr;c=mqr;c=mqrarchive;idno=act2080.0041.206;rgn=main;view=text;xc=1;g=mqrg. Accessed 15 February 2014.
Sim, Stuart. 1992. Beyond Aesthetics: Confrontations with Poststructuralism and Postmodernism. Toronto: University of Toronto Press.
Smyth, Adam 2011. Textual Harassment. Times Literary Supplement, December 16. https://www.the-tls.co.uk/articles/private/textual-harassment/. Accessed 9 July 2012.
Spivey, Nigel. 2002. ‘Shrines of the Infidel’: The Buddhas at Bamiyan. Apollo 156: 28–35.
Stallabrass, Julian. 1999. High Art Lite: British Art in the 1990s. London: Verso.
Sturma, Dieter. 2000. Politics and the New Mythologies: The Turn to Late Romanticism. In The Cambridge Companion to German Idealism, Cambridge: Cambridge University Press, ed. Karl Ameriks, 219–238. Cambridge: Cambridge University Press.
Taylor, Roger. 1978. Art, an Enemy of the People. Sussex: The Harvester Press.
“The Oldest Systematic Programme of German Idealism.” (1917) 1996. In The Early Political Writings of the German Romantics, ed. and trans. F.C. Beiser, 2–5. Cambridge: Cambridge University Press.
Timpanaro, Sebastiano. (1970) 1980. On Materialism. London: Verso.
Tolstoy, Leo. 1904. What Is Art? Trans. Aylmer Maude. New York: Funk & Wagnalls Company.
Trotsky, Leon. 1970. Leon Trotsky on Literature and Art, ed. Paul N. Siegel. New York: Pathfinder Press.
Vaneigem, Raoul. [Jules-François Dupuis, pseud.] (1977) 1999. A Cavalier History of Surrealism. Trans. Donald Nicholson-Smith. Edinburgh: AK Press.
Walker, John A. 1999. Art and Outrage: Provocation, Controversy and the Visual Arts. London: Pluto Press.
Wang, Ban. 1997. The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China. Stanford: Stanford University Press.
Wilson, Andrew. 2008. Gustav Metzger’s Auto-Destructive/Auto-Creative Art: An Art of Manifesto, 1959–1969. Third Text 22 (2): 177–194.
Wood, D. 2010. Book Review: John Roberts The Intangibilities of Form: Skill and Deskilling in Art After the Readymade, Verso: London, 2007; 256 pp.: 9781844671670, £16.99 (pbk); 9781844671632 £60 (hbk). Capital & Class 34: 294–295.
Zuidervaart, Lambert. 2011. Art in Public: Politics, Economics, and a Democratic Culture. Cambridge: Cambridge University Press.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Dee, L. (2018). Artistic Differences: In Search of a Negation. In: Against Art and Culture. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-10-7092-1_2
Download citation
DOI: https://doi.org/10.1007/978-981-10-7092-1_2
Published:
Publisher Name: Palgrave Macmillan, Singapore
Print ISBN: 978-981-10-7091-4
Online ISBN: 978-981-10-7092-1
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)