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Scholars have long been fascinated by the creative struggles with genre manifested throughout Dostoevsky’s career. In The Novel in the Age of Disintegration, Kate Holland brings historical context to bear, showing that Dostoevsky wanted to use the form of the novel as a means of depicting disintegration brought on by various crises in Russian society in the 1860s. This required him to reinvent the genre. At the same time he sought to infuse his novels with the capacity to inspire belief in social and spiritual reintegration, so he returned to some older conventions of a society that was already becoming outmoded. In thoughtful readings of Demons, The Adolescent, A Writer’s Diary, and The Brothers Karamazov, Holland delineates Dostoevsky’s struggle to adapt a genre to the reality of the present, with all its upheavals, while maintaining a utopian vision of Russia’s future mission.
This book addresses the disintegration of collective units of all kinds, under the twin pressures of economic globalisation and technological automation. At the level of super-states, the constituent nations of the European Union and the former Soviet Union, and of the United Kingdom, have demonstrated this dynamic; and their constituent groups, associations and communities have done so too. The author analyses the causes and consequences of these processes, at the global, national and local levels, the significance of increased mobility and migration, and the politics of resistance to some damaging effects. He recommends ways in which public policy can offset some of the latter, including radical changes in tax-benefits systems, already being trialled in several countries worldwide.
Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle. The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer. At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first. The dustjacket unfolds to reveal a fold-out poster of the collaborative graphic essay combining text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle.
This book concerns the end of the age of colonization and the inherent changes in the world economy. It discusses the author’s perception of the disintegration of free trade and ideas on the solution of federation. Starting with an introduction to economic thought and history the author then presents the state of the world at the time of writing in terms of colonies and dependencies and looks at economic nationalism and economic separatism. This discursive text is an important account of the global economic issues of the early twentieth century by one of the most well-known economists of the age who became a foremost expert in international financial affairs.
Four writers, four different perspectives on the problematic notion of purity. "All purity is created by resemblance and disavowal." With this sentence as a starting point, four authors each write a novella considering the concept of purity, all from astonishingly different angles. Jean Marc Ah-Sen writes about love blooming between two writers belonging to feuding literary movements. Emily Anglin explores an architect's search for her twin at a rural historic house. Devon Code documents the Wittgensteinian upheavals of the last days of an elderly woman. And Lee Henderson imagines Dada artist Kurt Schwitters finding unlikely inspiration in a Second World War internment camp in northern Norway. Wildly different in style and subject matter, these four virtuoso pieces give us a 360-degree view of a philosophical theme that has never felt so urgent. “Despite the disparity of their subject matter – a Nazi-evading Dadaist detained in Norway, urban and familial estrangements, complicated love amid the avant-garde, the vicissitudes of old age – these brilliantly inventive, delightfully strange stories cling together like four unlikely soulmates, unified by art’s pursuit of coherence through life’s various disintegrations.” —Pasha Malla, author of Kill the Mall
The African American population in the United States has always been seen as a single entity: a “Black America” with unified interests and needs. In his groundbreaking book, Disintegration, Pulitzer-Prize winning columnist Eugene Robinson argues that over decades of desegregation, affirmative action, and immigration, the concept of Black America has shattered. Instead of one black America, now there are four: • a Mainstream middle-class majority with a full ownership stake in American society; • a large, Abandoned minority with less hope of escaping poverty and dysfunction than at any time since Reconstruction’s crushing end; • a small Transcendent elite with such enormous wealth, power, and influence that even white folks have to genuflect; • and two newly Emergent groups—individuals of mixed-race heritage and communities of recent black immigrants—that make us wonder what “black” is even supposed to mean.
In the last quarter of the twentieth century, the ideas that most Americans lived by started to fragment. Mid-century concepts of national consensus, managed markets, gender and racial identities, citizen obligation, and historical memory became more fluid. Flexible markets pushed aside Keynesian macroeconomic structures. Racial and gender solidarity divided into multiple identities; community responsibility shrank to smaller circles. In this wide-ranging narrative, Daniel Rodgers shows how the collective purposes and meanings that had framed social debate became unhinged and uncertain. Age of Fracture offers a powerful reinterpretation of the ways in which the decades surrounding the 1980s changed America. Through a contagion of visions and metaphors, on both the intellectual right and the intellectual left, earlier notions of history and society that stressed solidity, collective institutions, and social circumstances gave way to a more individualized human nature that emphasized choice, agency, performance, and desire. On a broad canvas that includes Michel Foucault, Ronald Reagan, Judith Butler, Charles Murray, Jeffrey Sachs, and many more, Rodgers explains how structures of power came to seem less important than market choice and fluid selves. Cutting across the social and political arenas of late-twentieth-century life and thought, from economic theory and the culture wars to disputes over poverty, color-blindness, and sisterhood, Rodgers reveals how our categories of social reality have been fractured and destabilized. As we survey the intellectual wreckage of this war of ideas, we better understand the emergence of our present age of uncertainty.
The “fierce, erotic, haunting, truthful” memoirs of an extraordinary artist, activist, and iconoclast who lit up late-twentieth-century New York (Dennis Cooper). One of the New York Times’ “50 Best Memoirs of the Past 50 Years” David Wojnarowicz’s brief but eventful life was not easy. From a suburban adolescence marked by neglect, drugs, prostitution, and abuse to a squalid life on the streets of New York City, to fame—and infamy—as an activist and controversial visual artist whose work was lambasted in the halls of Congress, all before his early death from AIDS at age thirty-seven, Wojnarowicz seemed to be at war with a homophobic “establishment” and the world itself. Yet what emerged from the darkness was a truly extraordinary artist and human being—an angry young man of remarkable poetic sensibilities who was inordinately sympathetic to those who, like him, lived and struggled outside society’s boundaries. Close to the Knives is his searing yet strangely beautiful account told in a collection of powerful essays. An author whom reviewers have compared to Kerouac and Genet, David Wojnarowicz mesmerizes, horrifies, and delights in equal measure with his unabashed honesty. At once savage and funny, poignant and sexy, compassionate and unforgiving, his words and stories cut like knives, leaving indelible marks on all who read them.
WE ARE ON THE WRONG TRACK Seventy percent of Americans (and counting) think so. The real wage of a US worker today is less than it was 40 years ago-but there are four times as many multimillionaires. As inequality grows, the politics become more poisonous. Every year, more and more Americans go on shooting sprees, killing strangers and passers-by-and now, increasingly, representatives of the state. Troubling trends of this kind are endlessly discussed by public intellectuals and social scientists. But mostly, they talk about only a small slice of the overall problem. After all, how on earth can yet another murderous rampage have anything to do with polarization in Congress? And is there really a connection between too many multimillionaires and government gridlock? Historical analysis shows that long spells of equitable prosperity and internal peace are succeeded by protracted periods of inequity, increasing misery, and political instability. These crisis periods-"Ages of Discord"-have recurred in societies throughout history. Modern Americans may be disconcerted to learn that the US right now has much in common with the Antebellum 1850s and, more surprisingly, with ancien regime France on the eve of the French Revolution. Can it really be true that there is nothing new about our troubled time, and that similar ages arise periodically for similar underlying reasons? Ages of Discord marshals Structural-Demograpic Theory and detailed historical data to show that this is, indeed, the case. The book takes the reader on a roller-coaster ride through American history, from the Era of Good Feelings of the 1820s to our first Age of Discord, which culminated in the American Civil War, to post-WW2 prosperity and, finally, to our present, second Age of Discord."