Abstract

This article analyses the political economy of the image today, a historical conjuncture in which art contributes its meanings (even its critiques and negations) to a process of socialization through consumption. This analysis is pursued in light of the reception of an idea of the image drawn from a world before capitalism – or certainly on the edge of capitalism and modernity – as found in Novalis’s unfinished and posthumous novel Henry von Ofterdingen of 1802.