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In this reissued collection of essays, first published in 1985, Paul Q. Hirst assesses the limits of the Marxist theory of history in its various versions. It begins with an extended critical discussion of Perry Anderson and Edward Thompson, and includes chapters on G.A Cohen’s attempt to re-state the Marxist theory of history in terms compatible with analytic philosophy, on R.G. Collingwood’s theory of history, on Anderson’s work on Absolutism, on Thompson’s Poverty of Theory, and on the contemporary politics of democratic socialism.
Marxist Historiographies is the first book to examine the ebb and flow of Marxist historiography from a global and cross-cultural perspective. Since the eighteenth century, few schools of historical thought have exerted a more lasting impact than Marxism, and this impact extends far beyond the Western world within which it is most commonly analysed. Edited by two highly respected authors in the field, this book deals with the effect of Marxism on historical writings not only in parts of Europe, where it originated, but also in countries and regions in Africa, Asia, North and South America and the Middle East. Rather than presenting the chapters geographically, it is structured with respect to how Marxist influence was shown in the works of historians in a particular area. This title takes a dual approach to the subject; some chapters are national in scope, addressing the Marxist impact on historical practices within a country, whereas others deal with the varied expressions of Marxist historiography throughout a wider region. Taking a truly global perspective on this topic, Marxist Historiographies demonstrates clearly the breadth and depth of Marxism’s influence in historical writing throughout the world and is essential reading for all students of historiography.
This reissue was first published in 1982. It deals specifically with the ‘Asiatic mode of production’ described by Karl Marx in his basic evolutionary model for human society. The term defines a special form of society marked by state ownership of the means of production and extensive intervention by the state in all forms of social life. In the soviet Union, the concept has had a chequered and controversial career: leading writers, primarily Stalin, have denied its very existence, mobilizing the heavy artillery of state ideology in their defence, whilst later scholars show signs of reversing this trend. Drawing on a large body of Soviet writing on historiography, Stephen Dunn develops a critical analysis of the issue, and introduces important corrections to the accounts hitherto available in the West. His work should be of major interest to students of Soviet politics, economists and Marxists.
First published in 1981, this book brings together different types of work by numerous fragmented groups in the field of Marxist history and puts them in dialogue with each other. It takes stock of then recent work, explores the main new lines, and looks at the political and ideological circumstances shaping the direction of historical work, past and present. The scope of the book is international with contributions on African history, fascism and anti-fascism, French labour history, and the transition from feudalism to capitalism. It also incorporates feminist history and gives attention to some of the leading questions raised for social history by the women’s movement.
The Market and Its Critics, first published in 1988, considers the reaction of socialist writers to the growth of the market economy in nineteenth century Britain, and examines in detail the diverse elements of the critique which they formulated. Dr Thompson looks at the theoretic and thematic continuities and discontinuities over the century, structuring his study around the idea of a changing socialist response to the market economy. Much of the literature in question is comprehensive, perceptive and acute. However, the writers invariably discounted the possibility of the market playing a role in a future socialist or communist commonwealth. The solutions they posited to the problem were inapplicable to the increasingly industrial economy of the time. It was this that left their writing vulnerable to attack, and which had profound consequences both for the fate of the socialist political economy in nineteenth century Britain and its subsequent evolution in the twentieth century.
First published 1935, this title presents a series of recollections, some intimately personal, others bearing on the great social, cultural and political issues that faced the Jews and the European population more generally during the first part of the twentieth century. The author specifically focuses on differing attitudes towards the rise of Socialism in Europe, and the fate of nineteenth-century politics in the face of the tumultuous revolutions and counter-revolutions that arose in the aftermath of the First World War.
First published in 1975, this book investigates the various pre-capitalist modes of production briefly indicated in the works of Marx and Engels, and gives an examination of the conditions of the transition from one mode of production to another. The fundamental concepts used in these investigations, including those of mode of production, of necessary labour and surpass labour, of politics and state, are derived from Capital and from other works of Marxist theory. The primary aim of the analysis is to raise the conceptualisation of pre-capitalist modes of production and of transition to a more rigorous level. This book will appear controversial to both Marxists and non-Marxists alike.
Traditionally, Wordsworth’s greatness is founded on his identity as the poet of nature and solitude. The Wordsworthian imagination is seen as an essentially private faculty, its very existence premised on the absence of other people. In this title, first published in 1987, David Simpson challenges this established view of Wordsworth, arguing that it fails to recognize and explain the importance of the context of the public sphere and the social environment to the authentic experience of the imagination. Wordsworth’s preoccupation with the metaphors of property and labour shows him to be acutely anxious about the value of his art in a world that he regarded as corrupted. Through close examination of a few important poems, both well-known and relatively unknown, Simpson shows that there is no unitary, public Wordsworth, nor is there a conflict or tension between the private and the public. The absence of any clear kind of authority in the voice that speaks the poems makes Wordsworth’s poetry, in Simpson’s phrase, a ‘poetry of displacement’.