Download Free The Dialectics Of Devastation Book in PDF and EPUB Free Download. You can read online The Dialectics Of Devastation and write the review.

"Today the fate of the earth as a home for humanity is in question-and yet, contends John Bellamy Foster, the reunification of humanity and the earth remains possible if we are prepared to make revolutionary changes. As with his prior books, The Dialectics of Ecology is grounded in the contention that we are now faced with a concrete choice between ecological socialism and capitalist exterminism, and rooted in insights drawn from the classical historical materialist tradition. In this latest work, Foster explores the complex theoretical debates that have arisen historically with respect to the dialectics of nature and society. He then goes on to examine the current contradictions associated with the confrontation between capitalist extractivism and the financialization of nature, on the one hand, and the radical challenges to these represented by emergent visions of ecological civilization and planned degrowth, on the other"--
Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.
This book develops Marcuse’s critique of advanced industrial society and deploys it as a lens to critically analyze contemporary neoliberalism and its structural failures. In the chapters, Marcuse scholars explore three related topics: First, Marcuse’s theory as it applies to the relationship between neoliberalism and authoritarianism, including both the historical relationship between the two and the modern re-emergence of authoritarianism and nationalism in neoliberal states today. Second, a re-examination of the relationship between neoliberal subjectivity and technological rationality that seeks to understand the stabilizing forces of neoliberal society and the way these forces register at the level of thought. Third and finally, Marcuse’s conception of socialism in conversation with contemporary neoliberal rationality, and ways in which alternatives to the status quo remain possible. Together, this volume contributes to recent discussions of neoliberalism and contribute to the development of Marcuse scholarship.
Combining the philosophy and musicology of T.W. Adorno, Walter Benjamin, and Gilles Deleuze, alongside an exploration of the dialectical character of music production, Joseph Weiss exposes the unresolved contradictions of contemporary music. By following the outermost mediations between nature, history, and technology, the book reflects on how advanced music critically responds to the ongoing catastrophe of both the Middle Passage and Auschwitz. Following what the author calls the “categorical imperative” of music, Weiss investigates the significance of a wide range of musical phenomena including the territorialization of the lullaby, the improvisation and sorrow song of the blues and jazz, as well as the cosmological limits of the electroacoustic avant-garde. In the era of commodity production, racialized violence and dispossession, the author defends critical music as a singular index of political possibilities.
This book is about the ambition, in a set of paradigmatic writers of the twentieth century, to simultaneously enlist and break the spell of the real—their fascination with the spectacle of violence and suffering—and the difficulties involved in capturing this kind of excess by aesthetic means. The works at the center of this study—by Franz Kafka, Georges Bataille, Claude Simon, Peter Weiss, and Heiner Müller—zero in on scenes of agony, destruction, and death with an astonishing degree of precision and detail. The strange and troubling nature of the appeal engendered by these sights is the subject of The Pathos of the Real. Robert Buch shows that the spectacles of suffering conjured up in these texts are deeply ambivalent, available neither to cathartic relief nor to the sentiment of compassion. What prevails instead is a peculiar coincidence of opposites: exaltation and resignation; disfiguration and transfiguration; agitation and paralysis. Featuring the experiences of violent excess in strongly visual and often in expressly pictorial terms, the works expose the nexus between violence and the image in twentieth-century aesthetics. Buch explores this tension between visual and verbal representation by drawing on the rhetorical notion of pathos as both insurmountable suffering and codified affect and the psychoanalytic notion of the real, that is, the disruption of the symbolic order. In dialogue with a diverse group of thinkers, from Erich Auerbach and Aby Warburg to Alain Badiou and Jacques Lacan, The Pathos of the Real advances an innovative new framework for rethinking the aesthetics of violence in the twentieth century.
Using a cross-cultural model, the author explores mystifications of economic life, and explains how capital and derivatives can control an economy. The book offers a different conception of economic welfare, development, and freedom.
After a history of funding environmentally costly megaprojects, the World Bank now claims that it is trying to become a leading force for sustainable development. For more than a decade, nongovernmental organizations (NGOs) and grassroots movements have formed transnational coalitions to reform the World Bank and the governments that it funds. The Struggle for Accountability assesses the efforts of these groups to make the World Bank more publicly accountable. The book is organized into four parts. Part I describes the NGOs and grassroots movements that are the book's central focus. Part II presents case studies of four projects that provoked the emergence of transnational advocacy coalitions: Indonesia's Kedung Ombo dam, the Mt. Apo geothermal plant in the Philippines, Brazil's Planaforo Amazon development project, and the remarkable campaign of Ecuador's indigenous people to influence national economic policy that led to their participation in the design of a development loan. Part III looks at the origins and politics of reform in four areas of broader World Bank policy: the rights of indigenous peoples, involuntary resettlement, water resources, and the World Bank's institutional reforms that are supposed to encourage public accountability. In the last section, the editors discuss issues of accountability within transnational coalitions and assess the impact of advocacy campaigns on World Bank projects and policies. Contributors L. David Brown, Jane G. Covey, Jonathan A. Fox, Andrew Gray, Margaret E. Keck, Deborah Moore, Antoinette Royo, Augustinus Rumansara, Leonard Sklar, Kay Treakle, Lori Udall, David A. Wirth.
Mourning the death of loved ones and recovering from their loss are universal human experiences, yet the grieving process is as different between cultures as it is among individuals. As late as the 1960s, the Wari' Indians of the western Amazonian rainforest ate the roasted flesh of their dead as an expression of compassion for the deceased and for his or her close relatives. By removing and transforming the corpse, which embodied ties between the living and the dead and was a focus of grief for the family of the deceased, Wari' death rites helped the bereaved kin accept their loss and go on with their lives. Drawing on the recollections of Wari' elders who participated in consuming the dead, this book presents one of the richest, most authoritative ethnographic accounts of funerary cannibalism ever recorded. Beth Conklin explores Wari' conceptions of person, body, and spirit, as well as indigenous understandings of memory and emotion, to explain why the Wari' felt that corpses must be destroyed and why they preferred cannibalism over cremation. Her findings challenge many commonly held beliefs about cannibalism and show why, in Wari' terms, it was considered the most honorable and compassionate way of treating the dead.
In A Fragile Inheritance Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram. Examining their written and visual works over the past fifty years, Mathur illuminates how her protagonists’ political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction. This book presents new understandings of the culture and politics of decolonization and the role of non-Western aesthetic avant-gardes within the discourses of contemporary art. Through skillful interpretation of Sundaram's and Kapur’s practices, Mathur demonstrates how received notions of mainstream art history may be investigated and subjected to creative redefinition. Her scholarly methodology offers an impassioned model of critical aesthetics and advances a radical understanding of art and politics in our time.
From the years leading up to the First World War to the aftermath of the Second, Europe experienced an era of genocide. As well as the Holocaust, this period also witnessed the Armenian genocide in 1915, mass killings in Bolshevik and Stalinist Russia, and a host of further ethnic cleansings in Anatolia, the Balkans, and Eastern Europe. Crisis of Genocide seeks to integrate these genocidal events into a single, coherent history. Over two volumes, Mark Levene demonstrates how the relationship between geography, nation, and power came to play a key role in the emergence of genocide in a collapsed or collapsing European imperial zone - the Rimlands - and how the continuing geopolitical contest for control of these Eastern European or near-European regions destabilised relationships between diverse and multifaceted ethnic communities who traditionally had lived side by side. An emergent pattern of toxicity can also be seen in the struggles for regional dominance as pursued by post-imperial states, nation-states, and would-be states. Volume I: Devastation covers the period from 1912 to 1938. It is divided into two parts, the first associated with the prelude to, actuality of, and aftermath of the Great War and imperial collapse, the second the period of provisional 'New Europe' reformulation as well as post-imperial Stalinist, Nazi - and Kemalist - consolidation up to 1938. Levene also explores the crystallisation of truly toxic anti-Jewish hostilities, the implication being that the immediate origins of the Jewish genocides in the Second World War are to be found in the First.