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Simultaneously a critique of Foucauldian governmentalist interpretations of neoliberalism and a historical materialist reading of contemporary South Asian fictions, Allegories of Neoliberalism is a probing analysis of literary representations of capitalism’s “forms of appearance.” This book offers critical discussions on the important works of Akhtaruzzaman Elias, Amitav Ghosh, Aravind Adiga, Arundhati Roy, H. M. Naqvi, Mohsin Hamid, Nasreen Jahan, Samrat Upadhyay, and other writers from South Asia and South Asian diaspora. It also advances a re-reading of Karl Marx’s Capital through the themes and tropes of literature—one that looks into literary representations of commoditization, monetization, class exploitation, uneven spatial relationship, financialization, and ecological devastation through the lens of the German revolutionary’s critique of capitalism.
One of the few points critics and readers can agree upon when discussing the fiction popularly known as New Space Opera – a recent subgenre movement of science fiction – is its canny engagement with contemporary cultural politics in the age of globalisation. This book avers that the complex political allegories of New Space Opera respond to the recent cultural phenomenon known as neoliberalism, which entails the championing of the deregulation and privatisation of social services and programmes in the service of global free-market expansion. Providing close readings of the evolving New Space Opera canon and cultural histories and theoretical contexts of neoliberalism as a regnant ideology of our times, this book conceptualises a means to appreciate this thriving movement of popular literature.
"Simultaneously a critique of Foucauldian governmentalist interpretations of neoliberalism and a historical materialist reading of contemporary South Asian fictions, Allegories of Neoliberalism is a probing analysis of literary representations of capitalism's "forms of appearance." This book offers critical discussions on the important works of Akhtaruzzaman Elias, Amitav Ghosh, Aravind Adiga, Arundhati Roy, H. M. Naqvi, Mohsin Hamid, Nasreen Jahan, Samrat Upadhyay, and other writers from South Asia and South Asian diaspora. It is also a re-reading of Karl Marx's Capital through the themes and tropes of literature-one that looks into literary representations of commoditization, monetization, class exploitation, uneven spatial relationship, financialization, and ecological devastation through the lens of Marx's critique of capitalism"--
Fredric Jameson takes on the allegorical form Works do not have meanings, they soak up meanings: a work is a machine for libidinal investments (including the political kind). It is a process that sorts incommensurabilities and registers contradictions (which is not the same as solving them!) The inevitable and welcome conflict of interpretations - a discursive, ideological struggle - therefore needs to be supplemented by an account of this simultaneous processing of multiple meanings, rather than an abandonment to liberal pluralisms and tolerant (or intolerant) relativisms. This is not a book about "method", but it does propose a dialectic capable of holding together in one breath the heterogeneities that reflect our biological individualities, our submersion in collective history and class struggle, and our alienation to a disembodied new world of information and abstraction. Eschewing the arid secularities of philosophy, Walter Benjamin once recommended the alternative of the rich figurality of an older theology; in that spirit we here return to the antiquated Ptolemaic systems of ancient allegory and its multiple levels (a proposal first sketched out in The Political Unconscious); it is tested against the epic complexities of the overtly allegorical works of Dante, Spenser and the Goethe of Faust II, as well as symphonic form in music, and the structure of the novel, postmodern as well as Third-World: about which a notorious essay on National Allegory is here reprinted with a theoretical commentary; and an allegorical history of emotion is meanwhile rehearsed from its contemporary, geopolitical context.
Neoliberalism and Contemporary Literary Culture is essential reading for anyone invested in the ever-changing state of literary culture.
Tracing neoliberalism's devastating erosions of democratic principles, practices, and cultures. Neoliberal rationality—ubiquitous today in statecraft and the workplace, in jurisprudence, education, and culture—remakes everything and everyone in the image of homo oeconomicus. What happens when this rationality transposes the constituent elements of democracy into an economic register? In Undoing the Demos, Wendy Brown explains how democracy itself is imperiled. The demos disintegrates into bits of human capital; concerns with justice bow to the mandates of growth rates, credit ratings, and investment climates; liberty submits to the imperative of human capital appreciation; equality dissolves into market competition; and popular sovereignty grows incoherent. Liberal democratic practices may not survive these transformations. Radical democratic dreams may not either. In an original and compelling argument, Brown explains how and why neoliberal reason undoes the political form and political imaginary it falsely promises to secure and reinvigorate. Through meticulous analyses of neoliberalized law, political practices, governance, and education, she charts the new common sense. Undoing the Demos makes clear that for democracy to have a future, it must become an object of struggle and rethinking.
In Allegories of the End of Capitalism, Milo Sweedler deconstructs the events of films Melancholia; Cosmopolis; Suffragette; Django Unchained; Elysium and Snowpiercer, the socio-political contexts they arise from and enter into, and their impact on contemporary culture and life. He examines how filmmakers from six different countries, across four continents, give narrative and audio-visual form to the frustration and anger that burst into public view in 2011, the ongoing class war between the super-rich and the rest of the world's population, and the insurrection that it yet to come.
Throughout his ministry, Jesus spoke frequently and unabashedly on the now-taboo subject of money. With nothing good to say to the rich, the New Testament—indeed the entire Bible—is far from positive towards the topic of personal wealth. And yet, we all seek material prosperity and comfort. How are Christians to square the words of their savior with the balances of their bank accounts, or more accurately, with their unquenchable desire for financial security? While the church has developed diverse responses to the problems of poverty, it is often silent on what seems almost as straightforward a biblical principle: that wealth, too, is a problem. By considering the particular context of the recent economic history of Ireland, this book explores how the parables of Jesus can be the key to unlocking what it might mean to follow Christ as wealthy people without diluting our dilemma or denying the tension. Through an engagement with contemporary economic and political thought, aided by the work of Karl Barth and William T. Cavanaugh, this book represents a unique and innovative intervention to a discussion that applies to every Christian in the Western world.
One of the few points critics and readers can agree upon when discussing the fiction popularly known as New Space Opera – a recent subgenre movement of science fiction – is its canny engagement with contemporary cultural politics in the age of globalisation. This book avers that the complex political allegories of New Space Opera respond to the recent cultural phenomenon known as neoliberalism, which entails the championing of the deregulation and privatisation of social services and programmes in the service of global free-market expansion. Providing close readings of the evolving New Space Opera canon and cultural histories and theoretical contexts of neoliberalism as a regnant ideology of our times, this book conceptualises a means to appreciate this thriving movement of popular literature.
This book addresses the conceptual lapse in the literature regarding the relationship between cultural production and participatory politics by examining their connections in a range of national and political contexts. Each chapter examines how youth engage cultural production as part of their political participation, and how political participation is sometimes central to, and expressed through, cultural production. The contributing authors provide examples of the intersections between youth cultural production and participatory politics and bring together a range of approaches to the examination of these intersections, providing illustrations of the complexities involved in these processes. Each of the chapters takes up different kinds of practices – from street art to video production, from online activism to installation work. They also examine a range of political contexts – from students striking at the University of Puerto Rico to activism in community arts centres and university classrooms. The book considers what becomes evident when close attention is paid to the intersection of cultural production and participatory politics: what does participatory politics help people to see about cultural production and how does cultural production expand how people understand participatory politics? This book was originally published as a special issue of Curriculum Inquiry.