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A series of essays by an international and trans-disciplinary group of contributors which explores the nature and extent of the utopian impulse. Working across a range of historical periods and cultures, the book investigates key aspects of utopian theory, texts, and socio-political practices.
A dream of a better world is a powerful human force that inspires activists, artists, and citizens alike. In this book Tom Moylan – one of the pioneering scholars of contemporary utopian studies – explores the utopian process in its individual and collective trajectory from dream to realization. Drawing on theorists such as Fredric Jameson, Donna Haraway and Alain Badiou and science fiction writers such as Kim Stanley Robinson and China Miéville, Becoming Utopian develops its argument for sociopolitical action through studies that range from liberation theology, ecological activism, and radical pedagogy to the radical movements of 1968. Throughout, Moylan speaks to the urgent need to confront and transform the global environmental, economic, political and cultural crises of our time.
The concepts of utopia and dystopia have received much historical attention. Utopias have traditionally signified the ideal future: large-scale social, political, ethical, and religious spaces that have yet to be realized. Utopia/Dystopia offers a fresh approach to these ideas. Rather than locate utopias in grandiose programs of future totality, the book treats these concepts as historically grounded categories and examines how individuals and groups throughout time have interpreted utopian visions in their daily present, with an eye toward the future. From colonial and postcolonial Africa to pre-Marxist and Stalinist Eastern Europe, from the social life of fossil fuels to dreams of nuclear power, and from everyday politics in contemporary India to imagined architectures of postwar Britain, this interdisciplinary collection provides new understandings of the utopian/dystopian experience. The essays look at such issues as imaginary utopian perspectives leading to the 1856-57 Xhosa Cattle Killing in South Africa, the functioning racist utopia behind the Rhodesian independence movement, the utopia of the peaceful atom and its global dissemination in the mid-1950s, the possibilities for an everyday utopia in modern cities, and how the Stalinist purges of the 1930s served as an extension of the utopian/dystopian relationship. The contributors are Dipesh Chakrabarty, Igal Halfin, Fredric Jameson, John Krige, Timothy Mitchell, Aditya Nigam, David Pinder, Marci Shore, Jennifer Wenzel, and Luise White.
Utopia has long been banished from political theory, framed as an impossible—and possibly dangerous—political ideal, a flawed social blueprint, or a thought experiment without any practical import. Even the "realistic utopias" of liberal theory strike many as wishful thinking. Can politics think utopia otherwise? Can utopian thinking contribute to the renewal of politics? In Political Uses of Utopia, an international cast of leading and emerging theorists agree that the uses of utopia for politics are multiple and nuanced and lie somewhere between—or, better yet, beyond—the mainstream caution against it and the conviction that another, better world ought to be possible. Representing a range of perspectives on the grand tradition of Western utopianism, which extends back half a millennium and perhaps as far as Plato, these essays are united in their interest in the relevance of utopianism to specific historical and contemporary political contexts. Featuring contributions from Miguel Abensour, Étienne Balibar, Raymond Geuss, and Jacques Rancière, among others, Political Uses of Utopia reopens the question of whether and how utopianism can inform political thinking and action today.
In Nowhere in the Middle Ages, Lochrie reveals how utopian thinking was, in fact, "somewhere" in the Middle Ages. In the process, she transforms conventional readings of More's Utopia and challenges the very practice of literary history today.
This collection addresses the ways in which the contributors approach their study of the objects and practices of utopianism (understood as social anticipations and visions produced through texts and social experiments) and of how, in turn, those objects and practices have shaped their intellectual work and research perspectives.
Utopia should be understood as a method rather than a goal. This book rehabilitates utopia as a repressed dimension of the sociological and in the process produces the Imaginary Reconstitution of Society, a provisional, reflexive and dialogic method for exploring alternative possible futures.
Honorable Mention, 2022 Sharon Harris Book Award presented by the University of Connecticut Humanities Institute Focusing on four key Chinese intellectuals of the first half of the twentieth century, Abolishing Boundaries offers new perspectives on modern Chinese political thought. These four intellectuals—Kang Youwei, Cai Yuanpei, Chen Duxiu, and Hu Shi—were deeply familiar with the Confucian and Buddhist classical texts, while also interested in the West's utopian literature of the late nineteenth century as well as Kant and the neo-Kantians, Marxists, and John Dewey and new liberalism, respectively. Although none of these four intellectuals can simply be labeled utopian thinkers, this book highlights how their thinking was intertwined with utopian ideals to produce theories of secular transcendence, liberalism, and communism, and how, in explicit and implicit ways, their ideas required some utopian impulse in order to escape the boundaries they identified as imprisoning the Chinese people and all humanity. To abolish these boundaries was to imagine alternatives to the unbearable present. This was not a matter of armchair philosophizing but of thinking through new ways to commit to action. These men did not hold a totalistic picture of some perfect society, but in distinctly different ways they all displayed a utopian impulse that fueled radical visions of change. Their work reveals much about the underlying forces shaping modern thought in China—and the world. Reacting to China's problems, they sought a better future for all humanity.
When Dmitri Tiomkin thanked Johannes Brahms, Johann Strauss, Richard Strauss, and Richard Wagner upon accepting the Academy Award for his score of The High and the Mighty in 1954, he was honoring a romantic style that had characterized Hollywood's golden age of film composition from the mid-1930s to the 1950s. Exploring elements of romanticism in film scores of composers ranging from Erich Korngold to Bernard Herrmann, Caryl Flinn argues that films tended to link music to the sense of an idealized, lost past. Just as the score of Gone with the Wind captured the grandeur of the antebellum South, others prompted flashbacks or suggested moments of emotional intensity and sensuality. Maintaining that many films treated this utopian impulse as a female trait, Flinn investigates the ways Hollywood genre films--particularly film noir and melodrama--sustained the connection between music and nostalgia, utopia, and femininity. The author situates Hollywood film scores within a romantic aesthetic ideology, noting compositional and theoretical affinities between the film composers and Wagner, with emphasis on authorship, creativity, and femininity. Pointing to the lasting impact of romanticism on film music, Flinn draws from poststructuralist, Marxist, feminist, and psychoanalytic criticism to offer fresh insights into the broad theme of music as an excessive utopian condition.