Fetishism in Literature & Literary Theory

Etymology of Fetishism

The term “fetish” and its derivative “fetishism” have their origins in the Portuguese word “feitiço,” which means “charm” or “sorcery.”

During the 15th century, Portuguese explorers encountered objects and religious practices in Africa that they considered mysterious and linked to spiritual beliefs. They referred to these objects as “feitiço,” eventually adapting it into “fetish” in English.

With time, the term evolved to include not only objects believed to have magical powers but also the fixation or obsession with non-sexual or sexual objects and practices.

In the context of fetishism in literature and theory, it refers to the sexual fascination or obsession with specific objects or body parts.

Meanings of Fetish/ism

Meaning	Description
Fetish (1) – An Inanimate Object with Special Significance	In this context, a fetish refers to a small, often portable inanimate object believed to possess magical or religious significance, and it is often used in rituals or as a source of protection.
Fetish (2) – Sexual Attraction to Inanimate Objects	In a sexual context, fetish denotes a specific object or body part that arouses sexual desire and is often essential for sexual gratification. This pertains to a form of sexual preference.
Fetishism (1) – Belief in the Supernatural Power of Objects	Fetishism, within religious or cultural contexts, involves the belief that certain objects possess supernatural powers or spirits and are revered or used for various rituals.
Fetishism (2) – Sexual Fetishism	Sexual fetishism is a psychological phenomenon in which an individual becomes sexually aroused by a particular object, body part, or situation that is not typically considered sexual in nature. This can become a necessary element for sexual satisfaction.

Definition of Fetish/ism as a Theoretical Term

1. Fetishism, as a theoretical concept in anthropology and cultural studies, posits that certain objects or symbols within a society hold profound cultural, religious, or ritual significance, often representing deeper societal values and beliefs.
2. In the realm of psychology, fetishism is viewed as a paraphilic disorder, where individuals derive sexual arousal and satisfaction primarily from specific objects, body parts, or situations, deviating from conventional sexual norms and preferences.
3. In Marxist theory, fetishism refers to the idea that commodities in a capitalist society acquire an illusory value and social power, obscuring the underlying exploitative relations of production, thus leading to a distorted perception of economic reality among individuals.

Fetish/ism: Theorists, Works and Arguments

Fetishism Theorists:

• Karl Marx: Marx introduced the concept of commodity fetishism in his seminal work “Capital,” arguing that in capitalist societies, commodities take on a mystical and fetishistic character, concealing the exploitative nature of labor relations.

Works on Fetishism:

• Sigmund Freud’s Three Essays on the Theory of Sexuality (1905): Freud explored the concept of sexual fetishism, emphasizing its psychological origins and its role in human sexuality.
• Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction (1936): Benjamin examined the fetishization of art and mass-produced objects in modernity, particularly how mechanical reproduction altered the aura of artwork.
• Marcel Mauss’s “The Gift: Forms and Functions of Exchange in Archaic Societies” (1925): Mauss explored the concept of the gift as a form of fetishism, where objects exchanged in traditional societies acquire social and spiritual significance beyond their material value.

Key Arguments on Fetishism:

• Commodity Fetishism (Marx): Marx argued that in capitalist economies, commodities are imbued with fetishistic qualities, masking the exploitative relations of production and making them appear as if they have intrinsic value.
• Sexual Fetishism (Freud): Freud posited that sexual fetishism arises from unresolved conflicts during psychosexual development, wherein individuals transfer sexual desire onto specific objects or body parts.
• Fetishism of the Art Object (Benjamin): Benjamin asserted that the reproducibility of art in the modern era leads to the loss of its aura, making mass-produced objects and images the new fetishized artifacts.
• Gift Exchange as Fetish (Mauss): Mauss argued that in traditional gift economies, objects given and received become imbued with symbolic and spiritual meaning, transcending their material worth and becoming fetishes of social bonds and obligations.

Fetish/ism in Literary Theories

1. Marxist Literary Theory:
   • In Marxist literary theory, fetishism examines how commodities or objects within a text symbolize social and economic relations. It uncovers how authors use material objects to comment on class structures and capitalist exploitation. For example, a literary work depicts characters obsessing over luxury goods, highlighting the fetishization of consumer culture.
2. Psychoanalytic Literary Theory:
   • Psychoanalytic theory, especially Freudian psychoanalysis, explores sexual fetishism within literary texts. Analysts examine characters’ fixations on specific objects or body parts and how these fetishes relate to their psychological development and conflicts.
3. Postcolonial Literary Theory:
   • In postcolonial theory, the concept of fetishism applies to how colonial powers fetishize and exoticize the cultures, customs, or artifacts of colonized peoples. This perspective reveals power dynamics and the dehumanization of colonized subjects in literature.
4. Feminist Literary Theory:
   • Feminist literary theory uses fetishism to analyze how gendered objects or stereotypes are represented in literature. It sheds light on how certain objects or behaviors fetishize, contributing to the objectification and subjugation of women in literary texts.
5. Deconstructionist Literary Theory:
   • In deconstructionist theory, the concept of fetishism deconstructs the binary oppositions and hierarchies within a text. It examines how certain terms or ideas fetishize and are given privileged status, revealing the instability of meaning in literature.
6. Cultural Studies:
   • Cultural studies often explore how cultural artifacts, including literature, fetishize as symbols of national identity, political ideologies, or social norms. This approach uncovers the ways in which literature participates in the creation and maintenance of cultural fetishes.
7. Queer Theory:
   • Queer theory applies fetishism to analyze how LGBTQ+ identities and desires are represented in literature. It explores how certain objects, clothing, or behaviors fetishize within queer narratives and the implications of these fetishes for identity and sexuality.
8. Structuralism and Semiotics:
   • In structuralist and semiotic approaches, fetishism investigates the signifiers and signifieds within a text. Analysts explore how certain words or symbols fetishize, creating layers of meaning and interpretation.

In each of these literary theories, the concept of fetishism provides a unique lens through which to examine the themes, characters, and symbols within literary works, revealing deeper insights into their cultural, social, and psychological significance.

Fetish/ism and Literary Criticism

Work	Explanation of Fetish/ism
Jane Eyre by Charlotte Brontë	Mr. Rochester’s confinement of Bertha Mason in the attic serves as a manifestation of fetishism, symbolizing his fixation on control and dominance. This act also reflects broader societal norms and expectations, akin to cultural fetishism, where characters are constrained by rigid conventions.
The Handmaid’s Tale by Margaret Atwood	In this dystopian society, women’s bodies are fetishized and subjected to state control. The Red Center, where women are trained as “handmaids,” represents an extreme form of the fetishization of fertility and authority over women’s bodies. The novel critically examines patriarchal power structures and the fetishization of traditional gender roles.
“The Love Song of J. Alfred Prufrock” by T.S. Eliot	The protagonist, J. Alfred Prufrock, exhibits a personal form of fetishism through his intense self-consciousness and fixation on his perceived inadequacies. His self-doubt and fear of rejection can be seen as a type of emotional fetishism, impacting his relationships and self-esteem.
“The Bear” by William Faulkner	While not Canadian or British, Faulkner’s work often includes elements of fetishism. In “The Bear,” Ike’s profound obsession with hunting and the wilderness can be viewed as a form of fetishization of the natural world. His deep attachment to the bear symbolizes his complex relationship with nature and his own identity.

Suggested Readings

Books:

1. Freud, Sigmund. Three Essays on the Theory of Sexuality. Translated by James Strachey, Basic Books, 2000.
2. Marx, Karl. Capital: Critique of Political Economy. Translated by Ben Fowkes, Penguin Books, 1990.
3. Wiegman, Robyn. Object Lessons. Duke University Press, 2012.
4. Atwood, Margaret. The Handmaid’s Tale. McClelland and Stewart, 1985.
5. Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. Translated by Harry Zohn, Harvard University Press, 2008.
6. Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Translated by Robert Hurley et al., University of Minnesota Press, 1983.
7. Eagleton, Terry. Literary Theory: An Introduction. Wiley, 2008.
8. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 2006.
9. Bersani, Leo. Is the Rectum a Grave?: And Other Essays. University of Chicago Press, 2009.
10. Greenberg, Jonathan. Modernism, Fetishism, and the Novel. Princeton University Press, 2016.

Edited Collections:

1. Maltz, Diana Fuss, ed. The Essential Difference. Routledge, 1996.
2. Weiss, Gail, and Honi Fern Haber, eds. Perspectives on Embodiment: The Intersections of Nature and Culture. Routledge, 1999.

Articles:

1. Mitchell, Juliet. “The Consequences of Feminism.” Signs: Journal of Women in Culture and Society, vol. 28, no. 3, 2003, pp. 802-818.
2. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen, vol. 16, no. 3, 1975, pp. 6-18.
3. Williams, Linda. “Film Bodies: Gender, Genre, and Excess.” Film Quarterly, vol. 44, no. 4, 1991, pp. 2-13.