Abstract
In this section, the concept of the hipster is introduced as an endlessly mutable set of “arty” codes and as an utterance; a paradoxical act of denouncing cultural discernment only to surreptitiously reinforce it.
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Notes
- 1.
Anatole Broyard, “Portrait of a Hipster,” Partisan Review, vol. 15, no. 6 (June 1948): 721.
- 2.
Ibid., 721.
- 3.
Boris Groys, Art Power (Cambridge: MIT Press, 2008), 21.
- 4.
Lauren Berlant, Cruel Optimism (Durhum: Duke University press, 2011), 19.
- 5.
Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible (2000), trans. Gabriel Rockhill (London: Continuum, 2004), 38.
- 6.
Ibid., 63.
- 7.
Jacques Rancière, The Emancipated Spectator (New York: Verso, 2009), 27.
- 8.
Rancière , The Politics of Aesthetics, 81.
- 9.
Alyson Cole, “All of Us Are Vulnerable, But Some Are More Vulnerable than Others: The Political Ambiguity of Vulnerability Studies, an Ambivalent Critique,” Critical Horizons, Vol. 17 No. 2 (May, 2016): 272.
- 10.
Jacques Rancière, Dissensus: on Politics and Aesthetics, trans. and ed. Steven Corcoran (New York: Continuum, 2010), 217.
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Hill, W. (2017). Introduction: Caring Too Much and Not Enough. In: Art after the Hipster. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-68578-6_1
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DOI: https://doi.org/10.1007/978-3-319-68578-6_1
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