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make a fetish of

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Exchange becomes the basis of society although not in the fetishised form of commodity production that characterises capitalist arrangements.
Higgins's poetry exemplifies theory on the edge, writing from the threshold spaces between conflicted public and private spaces, between rasping sounds and fetishised text, negotiating the psychic, physical, and emotional needs for boundaries and safe spaces with lived knowledge of the inequities of an economic and political system derived from private enclosure.
Each of the above changes entailed a tectonically-assisted transformation of chiefly personhood--no longer intimately associated with materialised or fetishised divinity it became an elevated, Europeanised, humanity.
Anything written in Kafka's hand is fetishised, such as an envelope addressed to Felice Bauer (the letter itself was missing) that sold in Basel in 2009 for 3,600 Swiss Francs (Aderet 2009).
The object is there to be employed and exploited, to be used, and as such it can be revered and fetishised but also defaced and attacked.
Under the gaze of the state, the colonised male subject perceives himself, traumatically, as a fetishised object of lack, a despised stereotype: "white is the standard of civilisation; what is not white is black, and black is the badge of ignorance and savagery" (59).
In these versions of local history, Aboriginal people became a sort of absent presence--denied but also fetishised, and portrayed as useless, yet oddly essential.
Welcoming Gunnoe's findings, Aric Sigman, a psychologist and author of The Spoilt Generation: Why Restoring Authority will Make our Children and Society Happier, said: "The idea that smacking and violence are on a continuum is a bizarre and fetishised view of what punishment or smacking is for most parents.
Moreover, the prevalence of such images is inclined to encourage what could be called a formulaic and fetishised sexual conformity.
The features mentioned above serve to immerse the viewer in fetishised simulated environment, but it is the film's coda which ultimately defines the viewer's relation to that world.
The irony is that, as Gareth Griffiths argues in an Australian context, "representations subsumed by the white media under a mythologized and fetishised sign of the 'authentic' can also be used to create a privileged hierarchy of [.
Gone are the fetishised joints of earlier steel frames, the coverplates and linkages of Stansted.
Cross-cultural and cross-racial contact, that is, the crossing of boundaries hitherto fetishised, and the transformation of cultural source texts central to the production of whiteness, requires of Tearle to release the restless qualities of subject formation through iteration, thus confronting his current subject performance with the threat of death in contact.