Published in early 1968, it both kindled and colored the May 1968 upheavals in France, which captured the attention of the world. Naming and defining the alienating features of everyday life in consumer society: survival rather than living in full, the call to sacrifice, the cultivation of false needs, the dictatorship of the commodity, subjection to social roles, and the replacement of God by the economy, the book argues that the countervailing impulses that exist within deep alienation - creativity, spontaneity, poetry present an authentic alternative to nilhilistic consumerism. This carefully edited new translation marks the first North American publication of this important work and includes a new preface by the author.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Aside from his more directly theoretical texts, however, case-studies of theatrical naturalism, the Bloomsbury group, advertising, science fiction, and the Welsh novel are also included as illustrations of the method at work. Finally, Williams’s identity as an active socialist, rather than simply an academic, is captured by two unambiguously political pieces on the past, present and future of Marxism.

    Being and Event is the greatest work of Alain Badiou, France's most important living philosopher. Long-awaited in translation, Being and Event makes available to an English-speaking readership Badiou's groundbreaking work on set theory - the cornerstone of his whole philosophy. The book makes the scope and aim of Badiou's whole philosophical project clear, enabling full comprehension of Badiou's significance for contemporary philosophy. Badiou draws upon and is fully engaged with the European philosophical tradition from Plato onwards; Being and Event deals with such key figures as Descartes, Spinoza, Leibniz, Hegel, Rousseau, Heidegger and Lacan.

    This book follows the life and work of this prominent critical theorist, tracing his influence on modern aesthetics and cultural history as well as his particular focus on the tension between Marxism and Zionism, and between word and image in modern art.

    Marxism and Form provided a pioneering account of the work of the major European Marxist theorists--T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Luk cs, and Jean-Paul Sartre--work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous influence. He provided a framework for analyzing the connection between art and the historical circumstances of its making--in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form.Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism.One year after Marxism and Form, Princeton published Jameson's "The Prison-House of Language" (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.

    In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    From 1957 to 1972 the artistic and political movement known as the Situationist International (SI) worked aggressively to subvert the conservative ideology of the Western world. The movement's broadside attack on establishment institutions and values left its mark upon the libertarian left, the counterculture, the revolutionary events of 1968, and more recent phenomena from punk to postmodernism. But over time it tended to obscure Situationism's own founding principles. In this book, Simon Sadler investigates the artistic, architectural, and cultural theories that were once the foundations of Situationist thought, particularly as they applied to the form of the modern city.According to the Situationists, the benign professionalism of architecture and design had led to a sterilization of the world that threatened to wipe out any sense of spontaneity or playfulness. The Situationists hankered after the pioneer spirit of the modernist period, when new ideas, such as those of Marx, Freud, and Nietzsche, still felt fresh and vital.By the late fifties, movements such as British and American Pop Art and French Nouveau Ralisme had become intensely interested in everyday life, space, and mass culture. The SI aimed to convert this interest into a revolution--at the level of the city itself. Their principle for the reorganization of cities was simple and seductive: let the citizens themselves decide what spaces and architecture they want to live in and how they wish to live in them. This would instantly undermine the powers of state, bureaucracy, capital, and imperialism, thereby revolutionizing people's everyday lives.Simon Sadler searches for the Situationist City among the detritus of tracts, manifestos, and works of art that the SI left behind. The book is divided into three parts. The first, The Naked City, outlines the Situationist critique of the urban environment as it then existed. The second, Formulary for a New Urbanism, examines Situationist principles for the city and for city living. The third, A New Babylon, describes actual designs proposed for a Situationist City.

    The French surrealist continues to be important for his groundbreaking focus on the visceral, the erotic, and the relation of society to the primeval. This collection of prewar writings remains the volume in which Batailles's positions are most clearly, forcefully, and obsessively put forward. This book challenges the notion of a "closed economy" predicated on utility, production, and rational consumption, and develops an alternative theory that takes into account the human tendency to lose, destroy, and waste. This collection is indispensible for an understanding of the future as well as the past of current critical theory.Georges Bataille (1897-1962), a librarian by profession, was founder of the French review Critique. He is the author of several books, including Story of the Eye, The Accused Share, Erotism, and The Absence of Myth.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    To complement Marx's partial answers, especially in the face of the disconcerting spectacle of the engaged, enthusiastic employee, Lordon brings to bear a "Spinozist anthropology" that reveals the fundamental role of affects and passions in the employment relationship, reconceptualizing capitalist exploitation as the capture and remolding of desire. A thoroughly materialist reading of Spinoza's Ethics allows Lordon to debunk all notions of individual autonomy and self-determination while simultaneously saving the ideas of political freedom and liberation from capitalist exploitation. Willing Slaves of Capital is a bold proposal to rethink capitalism and its transcendence on the basis of the contemporary experience of work.

    They extend from a region where the audience is pumped for tweets to a future of "neurocurating," in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity.In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age.What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.

    Politics. Critical Theory. Art. In 1957 a few European avant-garde groups came together to form the Situationist International. Picking up where the dadaists and surrealists had left off, the situationists challenged people's passive conditioning with carefully calculated scandals and the playful tactic of detournement. Seeking a more extreme social revolution than was dreamed of by most leftists, they developed an incisive critique of the global spectacle-commodity system and of its "Communist" pseudo-opposition, and their new methods of agitation helped trigger the May 1968 revolt in France. Since then although the SI itself was dissolved in 1972 situationist theories and tactics have continued to inspire radical currents all over the world. The SITUATIONIST INTERNATIONAL ANTHOLOGY, generally recognized as the most comprehensive and accurately translated collection of situationist writings in English, presents a rich variety of articles, leaflets, graffiti and internal documents, ranging from early experiments in "psychogeography" to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution and other crises and upheavals of the sixties. For this new edition the translations have all been fine-tuned and over 100 pages of new material have been added."

    In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose materialist metaphysics he admired) were the prototype, the 19th century ur-form of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time--from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons--as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south--Moscow Paris, Berlin-Naples--and shows how such thinking in coordinates can explain his understanding of dialectics at a standstill. She argues for the continuing relevance of Benjamin's insights but then allows a set of afterimages to have the last word.