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The two first essays in A Critique of Mau: Mute Compulsion and Other Essays are critiques of Mau and Meiksins Wood for misreading Marx on the inevitability of the supersession of capitalism by socialism and eventually classless communist society. The third one discusses Hindess & Hirst: Pre-Capitalist Modes of Production as a link between Althusserian Structural Marxism on the one hand and Laclau & Mouffe's discourse analysis and Keith Jenkins' postmodernist rejection of history on the other. The fourth one summarises some main points made in the author's Structure, Agency and Theory, critique of which is countered in the fifth one. The sixth one defends some points made in his Experience and Historical Materialism, while the seventh and last one adds some further comments on the problem of reading Marx.
The three essays in this volume can be read individually, but all turn on the case for a revision of Marx' and Engels' historical materialism and for a less arbitrary way of reading their texts. The first one deals with the major weaknesses of Marx' and Engels' historical materialism and how to develop a better alternative without losing the critical and revolutionary edge of the original version. The second one demonstrates how Hal Draper misread some crucial passages in The Communist Manifesto, and offers a more cogent representation. The third one is a mere sketch, but suggests how the revised historical materialism outlined in the first essay makes it possible to understand the phenomenon of war.
A new Marxist theory of the abstract and impersonal forms of power in capitalism Despite insoluble contradictions, intense volatility and fierce resistance, the crisis-ridden capitalism of the 21st century lingers on. To understand capital’s paradoxical expansion and entrenchment amidst crisis and unrest, Mute Compulsion offers a novel theory of the historically unique forms of abstract and impersonal power set in motion by the subjection of social life to the profit imperative. Building on a critical reconstruction of Karl Marx’s unfinished critique of political economy and a wide range of contemporary Marxist theory, philosopher Søren Mau sets out to explain how the logic of capital tightens its stranglehold on the life of society by constantly remoulding the material conditions of social reproduction. In the course of doing so, Mau intervenes in classical and contemporary debates about the value form, crisis theory, biopolitics, social reproduction, humanism, logistics, agriculture, metabolism, the body, competition, technology and relative surplus populations.
We live in a world where nothing is untouched by supply chains—art included. In this major contribution to the study of contemporary culture and supply chains, Michael Shane Boyle has assembled a global inventory of aesthetics since the 1950s that reveals logistics to be a pervasive means of artistic production. The Arts of Logistics provides a new map of supply chain capitalism, scrutinizing how artists retool technologies designed for circulating commodities. What emerges is a magisterial account of the logistics revolution that foregrounds the role played by art in the long downturn of global capitalism. With chapters on art produced from technologies including ships, barrels, containers, and drones, Boyle narrates the long history of art's connection to logistics, beginning in the transatlantic slave trade and continuing today in Silicon Valley's dreams of automation. The global reach of the artists considered reflects the geographies of supply chain capitalism itself. In taking stock of how performance, sculpture, and popular culture are entangled in trade and racialized labor regimes, Boyle profiles influential work by artists such as Christo and Allan Kaprow alongside that of contemporary figures including Cai Guo-Qiang and Selina Thompson. This incisive study demonstrates that art and logistics are linked by the infrastructures and violence that keep supply chains moving.
The conflict between landlords and peasants over the appropriation of the surplus product of the peasant holding was a prime mover in the evolution of medieval society. In this collection of essays Rodney Hilton looks at the economic context within which these conflicts took place. He seeks to explain the considerable variations in the size, composition and management of landed estates and investigates the nature of medieval urbanisation, a consequence of the development of both local commodity production and long distance trade in luxury goods. By setting the broader economic context – the nature of the peasant and landlord economies and the commercialisation of peasant production – Hilton's essays enable a thorough understanding of the relationship between landlords and peasants in medieval society.
This is the first of Lucio Colletti's books to be translated into English, in which he considers the scientific character of Marxism. In contrast to the pre-occupation with Hegel and his contribution to the formation of Marx's thought, Colletti goes back on the one hand to the founders of political economy and on the other to Rousseau. In Rousseau's critique of 'civil society' Colletti isolates a crucial watershed in the development of a counter-theory to modern bourgeois society. The second of Colletti's central concerns is with the unity of Marxism. For him it is an integral science of history and of society which denies the pretensions of bourgeois sociology to any scientific status. His attack is concentrated on Max Weber and his epigone Karl Mannheim, but has wider implications for sociology in general. This is followed by a devastating critique of Bernstein's evolutionist 'revision' of Marx. From Rousseau to Lenin also contains a polemical study of Marcuse's 'neo-romantic utopianism', and the masterly statements of the contemporary relevance of Lenin's State and Revolution and Marx's Capital to the struggle for the overthrow of capitalism.
This republication of a long out-of-print collection of essays, first published in 1979, focuses on the elusive concept of “value.” The field of study surrounding the theory of value remains comparatively sparse in Anglophone circles, and the essays here aim to answer the question, “Why is Marx’s theory of value important?”
David Harvey examines the foundational contradictions of capital, and reveals the fatal contradictions that are now inexorably leading to its end
Historian and political thinker Ellen Meiksins Wood argues that theories of “postmodern” fragmentation, “difference,” and con-tingency can barely accommodate the idea of capitalism, let alone subject it to critique. In this book she sets out to renew the critical program of historical materialism by redefining its basic concepts and its theory of history in original and imaginative ways, using them to identify the specificity of capitalism as a system of social relations and political power. She goes on to explore the concept of democracy in both the ancient and modern world, examining its relation to capitalism, and raising questions about how democracy might go beyond the limits imposed on it.
Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect’s imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect’s productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.