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International and interdisciplinary in range and scope, the "Critical Companion to Contemporary Marxism" provides a thorough and precise panorama of recent developments in Marxist theory in the US, Europe and beyond.
Offers a fresh interpretation of Marx's great work. This book shows how the novelty and lasting interest of Marx's theory arises from the fact that, as against the project of a 'pure' economics, it is formulated in concepts that have simultaneously an economic and a political aspect, neither of these being separable from the other.
The 2008 financial crisis revitalised the question of whether capitalism was working and how it might be overturned. More recently, the growth of new social movements across the globe are posing a threat to the economic and political status quo, with Marxist ideas rejuvenated for the 21st century. In this provocative and critically engaged introduction, Ronaldo Munck applies Marx's theories to the most pressing issues of our times: the environmental crisis, austerity, international development, religion, nationhood, the role of women and LGBTQ+ communities. Crucially, he shows the far-reaching contribution Marx can make to both contemporary debate and political action. Accessible and wide-ranging, Marx 2020 is essential reading for anyone interested in the state of the modern world and the ideas needed for effective change.
In the wake of political collapse in Eastern Europe, the intellectual influence of Marx's thought requires re-appraisal. Backed by current debate and new perspectives, this volume provides comprehensive coverage of his significant contributions.
The present volume represents the first book-length monograph on the Marxian concept of totality as seen from a philosophical and sociopolitical perspective. Drawing on a large number of classical and contemporary works, Boveiri elucidates the distinctive features of Marxian totality with a particular focus on its methodology. The work has four fundamental elements, or moments. First, it develops arguments against undialectical conceptions of totality. Then it presents a critical reading of Hegelian totality focused on The Science of Logic. Its penultimate section examines the shortcomings of two well-known conceptions of totality, one by Georg Lukács, another by Karel Kosík, before a final section examines in detail the developmental characteristics of Marxian totality. The volume concludes with a chapter dealing with methodological implications.
Susan Buck-Morss asks: What does revolution look like today? How will the idea of revolution survive the inadequacy of the formula, “progress = modernization through industrialization,” to which it has owed its political life? Socialism plus computer technology, citizen resistance plus a global agenda of concerns, revolutionary commitment to practices that are socially experimental and inclusive of difference—these are new forces being mobilized to make another future possible. Revolution Today celebrates the new political subjects that are organizing thousands of grass roots movements to fight racial and gender violence, state-led terrorism, and capitalist exploitation of people and the planet worldwide. The twenty-first century has already witnessed unprecedented popular mobilizations. Unencumbered by old dogmas, mobilizations of opposition are not only happening, they are gaining support and developing a global consciousness in the process. They are themselves a chain of signifiers, creating solidarity across language, religion, ethnicity, gender, and every other difference. Trans-local solidarities exist. They came first. The right-wing authoritarianism and anti-immigrant upsurge that has followed is a reaction against the amazing visual power of millions of citizens occupying public space in defiance of state power. We cannot know how to act politically without seeing others act. This book provides photographic evidence of that fact, while making us aware of how much of the new revolutionary vernacular we already share. Susan Buck-Morss is distinguished professor of political philosophy at the CUNY Graduate Center, NYC. Her work crosses disciplines, including art history, architecture, comparative literature, cultural studies, German studies, philosophy, history, and visual culture.
Drawing on the rich recent season of Gramscian philological studies, this book offers a reconsideration of Gramsci's theory of the state and concept of philosophy, arguing that a renewal of the 'philosophy of praxis' constitutes a necessary element in the contemporary revitalisation of Marxism.
Marx and the Moving Image approaches cinema from a Marxist perspective. It argues that the supposed 'end of history', marked by the comprehensive triumph of capitalism and the 'end of cinema', calls for revisiting Marx's writings in order to analyse film theories, histories and practices.
Since the onset of the Global Financial Crisis the ideas of Karl Marx have once again become prominent in social and political thought. This book turns to Marx’s theory of revolutionary subjectivity as a means of assessing the work of three contemporary global theorists: Ernesto Laclau, Antonio Negri, and Alain Badiou, considered here together for the first time. The book’s central argument is that although each of these thinkers is indeed ‘beyond’ Marx, the extent to which they abandon Marx’s theory is problematised through the continued inspiration they draw from a particular Marxist thinker: Laclau in relation to Gramsci’s theory of hegemony, Negri in relation to Lenin’s notion of organisational form; Badiou in relation to Mao’s notion of the ‘inquiry’ and the primacy of political praxis. While providing a critical examination of the theory of revolutionary subjectivity in Laclau, Negri and Badiou, due to the fact such aspects were already present in Marx’s own theory, this book also offers insights into the nature of post-Marxism itself. Whilst accepting their respective differences, the conclusion offers a synthesis of all three theoretical approaches as a means of understanding the constitution of revolutionary subjectivity today.
Although Chinese Marxism—primarily represented by Maoism—is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism. Far from being secondary considerations in Chinese Marxism, aesthetics and culture are in fact principal concerns. In this respect, such Marxists are similar to their Western counterparts, although Europeans have had little understanding of the Chinese experience. Liu traces the genealogy of aesthetic discourse in both modern China and the West since the era of classical German thought, showing where conceptual modifications and divergences have occurred in the two traditions. He examines the work of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists including Horkheimer, Adorno, Benjamin, and Marcuse. While stressing the diversity of Marxist positions within China as well as in the West, Liu explains how ideas of culture and aesthetics have offered a constructive vision for a postrevolutionary society and have affected a wide field of issues involving the problems of modernity. Forcefully argued and theoretically sophisticated, this book will appeal to students and scholars of contemporary Marxism, cultural studies, aesthetics, and modern Chinese culture, politics, and ideology.