Rejecting stereotypes and simplifications, he is especially preoccupied with the ambivalent relationship between revolutionary socialist politics and the artistic avant-garde. Judiciously assessing the strengths and weaknesses of the modernist project, Williams shifts the framework of discussion from merely formal analysis of artistic techniques to one which grounds these cultural expressions in particular social formations. Animating the whole book is the question which Williams poses and brings us significantly closer to answering: namely, what does it mean to develop a cultural analysis that goes “beyond the modern” and yet avoids the trap of postmodernism’s “new conformism”?

    He lays bare the presuppositions of the two movements, clarifying the relationship between the synchronic methods of Saussurean linguistics and the realities of time and history.

    J. Clark rewrites the history of modern art. With the fall of the Berlin Wall, he explains, the project called socialism may have come to an end at roughly the same moment as modernism. Did modernism and socialism depend on each other for their vitality—for their sense of the future and their wish to live in a fully material world? Have they died? Aware of modernism’s foibles and blind spots, but passionately attached to the movement’s wildness, Clark poses these fundamental questions in Farewell to an Idea. Modernism, Clark argues, was an extreme answer to an extreme condition—the one Max Weber summed up as “the disenchantment of the world.” Clark focuses on instances of maximum stress, when the movement revealed its true nature. The book begins with Jacques-Louis David, painting at the height of the Terror in 1793, then leaps forward to Pissarro a hundred years later, struggling to picture Two Young Peasant Women ina way that agreed with his anarchist politics. Next the author turns in succession to Cézanne’s paintings of the Grandes Baigneuses and their coincidence in time (and maybe intention) with Freud’s launching of psychoanalysis; to Picasso’s Cubism; and to avant-garde art after the Russian Revolution. Clark concludes with a reading of Jackson Pollock’s tragic version of abstraction and suggests a new set of terms to describe avant-garde art—perhaps in its final flowering—in America after 1945. Shifting between broad, speculative history and intense analysis of specific works, Clark not only transfigures our usual understanding of modern art, he also launches a new set of proposals about modernity itself.

    It starts by considering the remarkable and variegated growth of historical materialism in the Anglo-American world, spreading across a broad field from history to economics, politics to literature, sociology to philosophy. By contrast, the same years have seen a drastic recession of Marxist influences in the Latin cultures where it was traditionally strong—France or Italy. Its main theoretical challengers there proved to be successive forms of structuralism and post-structuralism. The common coordinates of these—tracing the outer bounds of the work of Levi-Strauss or Lacan, Foucault or Derrida—are surveyed and criticized, in the light of the inherent limitations of the language model from which they derived. In Germany, on the other hand, the theoretical scene has been largely dominated by the accumulating work of Habermas, with its roots in the Frankfurt School. Yet Habermas's philosophy also reveals unexpected affinities with the trend of prevalent Parisian concerns, in its unifying emphasis on communication—while at the same time diverging from them in the constancy of its political commitments. The historical background of international class struggles against which these variant fates of Marxism in the west were played out is then explored, with special attention to the interconnection between the destinies of Maoism and Eurocommunism. What, finally, is the nature of the relationship between Marxism as a theory and socialism as a goal? A conclusion reviews the wider issues posed for the labour movement by the rise of the peace movement and the women’s movement, and suggests a range of priorities for the further development of Marxist thought in the eighties.

    a hire-wire juxtaposition of far-left political theory and pop culture, held together by the force of [Žižek’s] rumpled charm.” —BuzzFeedAs we emerge (though perhaps only temporarily) from the pandemic, other crises move center stage: outrageous inequality, climate disaster, desperate refugees, mounting tensions of a new cold war. The abiding motif of our time is relentless chaos.Acknowledging the possibilities for new beginnings at such moments, Mao Zedong famously proclaimed “There is great disorder under heaven; the situation is excellent.” The contemporary relevance of Mao’s observation depends on whether today’s catastrophes can be a catalyst for progress or have passed over into something terrible and irretrievable. Perhaps the disorder is no longer under, but in heaven itself.Characteristically rich in paradoxes and reversals that entertain as well as illuminate, Slavoj Žižek’s new book treats with equal analytical depth the lessons of Rammstein and Corbyn, Morales and Orwell, Lenin and Christ. It excavates universal truths from local political sites across Palestine and Chile, France and Kurdistan, and beyond.Heaven In Disorder looks with fervid dispassion at the fracturing of the Left, the empty promises of liberal democracy, and the tepid compromises offered by the powerful. From the ashes of these failures, Žižek asserts the need for international solidarity, economic transformation, and—above all—an urgent, “wartime” communism.

    In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.Discussing expressionism / Ernst BlochRealism in the balance / Georg LukacsAgainst Georg Luckacs / Bertolt BrechtConversations with Brecht / Walter BenjaminLetters to Walter Benjamin / Theodor AdornoReply / Walter BenjaminReconciliation under duress ; Commitment / Theodor AdornoReflections in conclusion / Fredric Jameson

    Sharp and concise, it is, without doubt, the most important work on literary criticism that has emerged out of the tradition of Marxist philosophy and social theory since the nineteenth century.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    His plenary address, 'Specters of Marx', delivered in two parts, forms the basis of this book. Hotly debated when it was first published, a rapidly changing world and world politics have scarcely dented the relevance of this book.

    In January 1919, after being arrested for her involvement in a workers' uprising in Berlin, she was brutally murdered by a group of right-wing soldiers. Her body was recovered days later from a canal. Six years earlier she had published what was undoubtedly her finest achievement, The Accumulation of Capital - a book which remains one of the masterpieces of socialist literature. Taking Marx as her starting point, she offers an independent and fiercely critical explanation of the economic and political consequences of capitalism in the context of the turbulent times in which she lived, reinterpreting events in the United States, Europe, China, Russia and the British Empire. Many today believe there is no alternative to global capitalism. This book is a timely and forceful statement of an opposing view.

    Suggests a theory of art, tests against the French and German avant-garde movements of the twenties, and discusses hermeneutics, ideology, aesthetic categories, and the autonomy of art."

    The marketplace now operates through every hour of the clock, pushing us into constant activity and eroding forms of community and political expression, damaging the fabric of everyday life.Jonathan Crary examines how this interminable non-time blurs any separation between an intensified, ubiquitous consumerism and emerging strategies of control and surveillance. He describes the ongoing management of individual attentiveness and the impairment of perception within the compulsory routines of contemporary technological culture. At the same time, he shows that human sleep, as a restorative withdrawal that is intrinsically incompatible with 24/7 capitalism, points to other more formidable and collective refusals of world-destroying patterns of growth and accumulation.

    The relation between wage-labour to capital is a core concept in Marx's analysis of political economy. This book is an essential, a foundation to understanding the development of Marxist theory. "Price. Value and Profit" was written in 1865. The different parts, as in the title decomposes into 'surplus value' (the essential economic building block in Marism). This book, again, is basic to understanding the development of Marist theory. A Collector's Edition.

    Presided over by the magnetic and intellectually coruscating figure of Althusser, the structuralist Marxists attempted no less than an intellectual revolution against dominant interpretations of Marx. Seeking to cleanse Marx of all Hegelian impurities and recast his thought on a rigorously scientific basis, in this work Althusser and one of his most brilliant students and colleagues, Etienne Balibar, subjected Marx’s method in Capital, his critique of classical political economy, and the fundamental terms of historical materialism, to searching textual analysis and challenging conceptual reconstruction. Inaugurating a new way of reading Marx that was to prove both intensely stimulating and capable of generating fierce controversy, Reading Capital is a work that cannot be bypassed by anyone interested in Marxism, and in theory more generally, in this century.

    Nothing in the postmodern canon comes close to the intellectual grandeur of Trotsky’s vision of art and literature in an age of revolution, or his extraordinary meditations on the popular ownership of culture.”—Mike Davis“Re-reading Trotsky on literature 40 years later is a delight.”—Tariq AliLeon Trotsky penned this engaging book to elucidate the complex way in which art informs— and can alter—our understanding of the world. Features new reader-friendly explanatory notes.Leon Trotsky was a leader of the Russian Revolution in 1917 and is the author of My Life.William Keach is a professor of English at Brown University. He is editor of Coleridge’s Complete Poems.