A Feminist Mythology takes us on a poetic journey through the canonical myths of femininity, testing them from the point of view of our modern condition. A myth is not an object, but rather a process, one that Chiara Bottici practises by exploring different variants of the myth of "womanhood" through first- and third-person prose and poetry. We follow a series of myths that morph into each other, disclosing ways of being woman that question inherited patriarchal orders. In this metamorphic world, story-telling is not just a mix of narrative, philosophical dialogues and metaphysical theorizing: it is a current that traverses all of them by overflowing the boundaries it encounters. In doing so, A Feminist Mythology proposes an alternative writing style that recovers ancient philosophical and literary traditions from the pre-Socratic philosophers and Ovid's Metamorphoses to the philosophical novellas and feminist experimental writings of the last century.

How can we be sure the oppressed do not become oppressors in their turn? How can we create a feminism that doesn't turn into yet another tool for oppression? It has become commonplace to argue that, in order to fight the subjugation of women, we have to unpack the ways different forms of oppression intersect with one another: class, race, gender, sexuality, disability, and ecology, to name only a few. By arguing that there is no single factor, or arche, explaining the oppression of women, Chiara Bottici proposes a radical anarchafeminist philosophy inspired by two major claims: that there is something specific to the oppression of women, and that, in order to fight that, we need to untangle all other forms of oppression and the anthropocentrism they inhabit. Anarchism needs feminism to address the continued subordination of all femina, but feminism needs anarchism if it does not want to become the privilege of a few. Anarchafeminism calls for a decolonial and deimperial position and for a renewed awareness of the somatic communism connecting all different life forms on the planet. In this new revolutionary vision, feminism does not mean the liberation of the lucky few, but liberation for all living creatures from both capitalist exploitation and an androcentric politics of domination. Either all or none of us will be free.

This edited collection examines the relationship between three central terms-capitalism, feminism, and critique-while critically celebrating the work and life of a thinker who has done the most to address this nexus: Nancy Fraser. In honor of her seventieth birthday, and in the spirit of her work in the tradition of critical theory, this collection brings together scholars from different disciplines and theoretical approaches to address this conjunction and evaluate Fraser's lifelong contributions to theorizing it. Scholars from philosophy, political science, sociology, gender studies, race theory and economics come together to think through the vicissitudes of capitalism and feminism while also responding to different elements of Nancy Fraser's work, which weaves together a strong feminist standpoint with a vibrant and complex critique of capitalism. Going beyond conventional disciplinary distinctions and narrow debates, all the contributors to this project share a commitment to critically understanding the connection between capitalism, exploitation, and the viable roads for emancipation. They recover insights provided by classical traditions of political and social thought, but they also open new research directions adapted to the global challenges of our time.

While globalization unifies the world, divisions re-emerge within it in the form of a spectacular separation between Islam and the West. How can it be that Huntington's contested idea of a clash of civilizations became such a powerful political myth through which so many people look at the world? Bottici and Challand disentangle such a process of myth-making both in the West and in Muslim majority countries, and call for a renewed critical attitude towards it. By analysing a process of elaboration of this myth that took place in academic books, arts and media, comics and Hollywood films, they show that the clash of civilizations has become a cognitive scheme through which people look at the world, a practical image on the basis of which they act on it, as well as a drama which mobilizes passions and emotions. Written in a concise and accessible way, this book is a timely and valuable contribution to the academic literature, and more generally, to the public debate. As such, it will be an important reference for scholars and students of political science, sociology, philosophy, cultural studies, Middle Eastern politics and Islam.

The Politics of Imagination offers a multidisciplinary perspective on the contemporary relationship between politics and the imagination. What role does our capacity to form images play in politics? And can we define politics as a struggle for people's imagination? As a result of the increasingly central place of the media in our lives, the political role of imagination has undergone a massive quantitative and a qualitative change. As such, there has been a revival of interest in the concept of imagination, as the intimate connections between our capacity to form images and politics becomes more and more evident. Bringing together scholars from different disciplines and theoretical outlooks, The Politics of Imagination examines how the power of imagination reverberates in the various ambits of social and political life: in law, history, art, gender, economy, religion and the natural sciences. And it will be of considerable interest to those with contemporary interests in philosophy, political philosophy, political science, legal theory, gender studies, sociology, nationalism, identity studies, cultural studies, and media studies.

While globalization unifies the world, divisions re-emerge within it in the form of a spectacular separation between Islam and the West. How can it be that Huntington's contested idea of a clash of civilizations became such a powerful political myth through which so many people look at the world?

Bottici and Challand disentangle such a process of myth-making both in the West and in Muslim majority countries, and call for a renewed critical attitude towards it. By analysing a process of elaboration of this myth that took place in academic books, arts and media, comics and Hollywood films, they show that the clash of civilizations has become a cognitive scheme through which people look at the world, a practical image on the basis of which they act on it, as well as a drama which mobilizes passions and emotions.

Written in a concise and accessible way, this book is a timely and valuable contribution to the academic literature, and more generally, to the public debate. As such, it will be an important reference for scholars and students of political science, sociology, philosophy, cultural studies, Middle Eastern politics and Islam.

In an act of resistance against the usage of the word 'anarchist' as an insult and representations of anarchy as a recipe for pure disorder, The Anarchist Turn brings together innovative and fresh perspectives on anarchism to argue that in fact it represents a form of collective, truly democratic social organisation. In the last few decades the negative caricature of anarchy has begun to crack. As free market states and state socialism preserve social hierarchies and remain apathetic on matters of inequality, globalisation and the social movements it spawned have proved what anarchists have long been advocating: an anarchical order is not just desirable, but also feasible. A number of high profile contributors, including Judith Butler, Simon Critchley, Cinzia Arruzza and Alberto Toscano, discuss the anarchist hypothesis, referencing its many historical and geographical variants and analysing its relationship to feminism, politics, economics, history and sociology.

Today, an international new right has coalesced. Variously described as nativist, right-populist, alt-right, and neofascist, far-right movements in many countries have achieved electoral victories that not long ago seemed highly improbable. They have also developed a new cultural politics. Adapting tactics from the left, the new right has moved from decorum to transgression; from conservative propriety to the frank sexualization of political figures and positions; from appealing to the conscious normalcy of the "silent majority" to recasting itself as a protest movement of and for the aggrieved. These movements share a mandate for robust nationalism, yet they also cultivate a striking international solidarity. Who is the subject of this ethnonationalism? Many new right movements have in fact intensified or laid bare long-standing tendencies, but this volume seeks to address aspects of their cultural politics that raise new and urgent questions. How should we assess the new right's disconcerting appropriations of strategies of minoritarian resistance? How can we practice critique in the face of adversaries who claim to practice a critique of their own? How do apparently post-normative versions of nationalism give rise to heightened forms of militarism, incarceration, censorship, and inequality? How should we understand the temporality of ethnonationalism, which combines a romance with archaic tradition, an ethos of disruption driven by tech futurism frequently tinged with accelerationist pathos, and a kitschy nostalgia for a hazily defined recent past, when things were "greater" than they are now? Surveying nationalisms from Argentina, Brazil, France, Germany, India, Israel-Palestine, the United Kingdom, and the United States, Reaction Formations gives a critical account of contemporary ethnonationalist cultural politics, while drawing out counterstrategies for anti-fascist resistance. Contributors: Tyler Blakeney, Chiara Bottici, Joshua Branciforte, Gisela Catanzaro, Melinda Cooper, Julian Goepffarth, Ramsey McGlazer, Benjamin Noys, Bruno Perreau, Rahul Rao, Shaul Setter, and M. Ty

The Politics of Imagination offers a multidisciplinary perspective on the contemporary relationship between politics and the imagination. What role does our capacity to form images play in politics? And can we define politics as a struggle for people's imagination? As a result of the increasingly central place of the media in our lives, the political role of imagination has undergone a massive quantitative and a qualitative change. As such, there has been a revival of interest in the concept of imagination, as the intimate connections between our capacity to form images and politics becomes more and more evident. Bringing together scholars from different disciplines and theoretical outlooks, The Politics of Imagination examines how the power of imagination reverberates in the various ambits of social and political life: in law, history, art, gender, economy, religion and the natural sciences. And it will be of considerable interest to those with contemporary interests in philosophy, political philosophy, political science, legal theory, gender studies, sociology, nationalism, identity studies, cultural studies, and media studies.

In this book, originally published in 2007, Chiara Bottici argues for a philosophical understanding of political myth. Bottici demonstrates that myth is a process, one of continuous work on a basic narrative pattern that responds to a need for significance. Human beings need meaning in order to master the world they live in, but they also need significance in order to live in a world that is less indifferent to them. This is particularly true in the realm of politics. Political myths are narratives through which we orient ourselves, and act and feel about our political world. Bottici shows that in order to come to terms with contemporary phenomena, such as the clash between civilizations, we need a Copernican revolution in political philosophy. If we want to save reason, we need to look at it from the standpoint of myth.

In Imagining Europe, Chiara Bottici and Benoit Challand explore the formation of modern European identity. Europe has not always been there, although we have been imagining it for quite some time. Even after the birth of a polity called the European Union, the meaning of Europe remained a very much contested topic. What is Europe? What are its boundaries? Is there a specific European identity or is the EU just the name for a group of institutions? This book answers these questions, showing that in Europe's formation, myth and memory, although distinct, are often merged in a common attempt to construct an identity for its present and its future. In a time when Europe is facing an existential crisis, when its meaning is being questioned, Imagining Europe explores a vital and often unacknowledged aspect of the European project.

How can we be sure the oppressed do not become oppressors in their turn? How can we create a feminism that doesn't turn into yet another tool for oppression? It has become commonplace to argue that, in order to fight the subjugation of women, we have to unpack the ways different forms of oppression intersect with one another: class, race, gender, sexuality, disability, and ecology, to name only a few. By arguing that there is no single factor, or arche, explaining the oppression of women, Chiara Bottici proposes a radical anarchafeminist philosophy inspired by two major claims: that there is something specific to the oppression of women, and that, in order to fight that, we need to untangle all other forms of oppression and the anthropocentrism they inhabit. Anarchism needs feminism to address the continued subordination of all femina, but feminism needs anarchism if it does not want to become the privilege of a few. Anarchafeminism calls for a decolonial and deimperial position and for a renewed awareness of the somatic communism connecting all different life forms on the planet. In this new revolutionary vision, feminism does not mean the liberation of the lucky few, but liberation for all living creatures from both capitalist exploitation and an androcentric politics of domination. Either all or none of us will be free.

Today, an international new right has coalesced. Variously described as nativist, right-populist, alt-right, and neofascist, far-right movements in many countries have achieved electoral victories that not long ago seemed highly improbable. They have also developed a new cultural politics. Adapting tactics from the left, the new right has moved from decorum to transgression; from conservative propriety to the frank sexualization of political figures and positions; from appealing to the conscious normalcy of the "silent majority" to recasting itself as a protest movement of and for the aggrieved. These movements share a mandate for robust nationalism, yet they also cultivate a striking international solidarity. Who is the subject of this ethnonationalism? Many new right movements have in fact intensified or laid bare long-standing tendencies, but this volume seeks to address aspects of their cultural politics that raise new and urgent questions. How should we assess the new right's disconcerting appropriations of strategies of minoritarian resistance? How can we practice critique in the face of adversaries who claim to practice a critique of their own? How do apparently post-normative versions of nationalism give rise to heightened forms of militarism, incarceration, censorship, and inequality? How should we understand the temporality of ethnonationalism, which combines a romance with archaic tradition, an ethos of disruption driven by tech futurism frequently tinged with accelerationist pathos, and a kitschy nostalgia for a hazily defined recent past, when things were "greater" than they are now? Surveying nationalisms from Argentina, Brazil, France, Germany, India, Israel-Palestine, the United Kingdom, and the United States, Reaction Formations gives a critical account of contemporary ethnonationalist cultural politics, while drawing out counterstrategies for anti-fascist resistance. Contributors: Tyler Blakeney, Chiara Bottici, Joshua Branciforte, Gisela Catanzaro, Melinda Cooper, Julian Goepffarth, Ramsey McGlazer, Benjamin Noys, Bruno Perreau, Rahul Rao, Shaul Setter, and M. Ty

A Feminist Mythology takes us on a poetic journey through the canonical myths of femininity, testing them from the point of view of our modern condition. A myth is not an object, but rather a process, one that Chiara Bottici practises by exploring different variants of the myth of "womanhood" through first- and third-person prose and poetry. We follow a series of myths that morph into each other, disclosing ways of being woman that question inherited patriarchal orders. In this metamorphic world, story-telling is not just a mix of narrative, philosophical dialogues and metaphysical theorizing: it is a current that traverses all of them by overflowing the boundaries it encounters. In doing so, A Feminist Mythology proposes an alternative writing style that recovers ancient philosophical and literary traditions from the pre-Socratic philosophers and Ovid's Metamorphoses to the philosophical novellas and feminist experimental writings of the last century.

In Imagining Europe, Chiara Bottici and Benoit Challand explore the formation of modern European identity. Europe has not always been there, although we have been imagining it for quite some time. Even after the birth of a polity called the European Union, the meaning of Europe remained a very much contested topic. What is Europe? What are its boundaries? Is there a specific European identity or is the EU just the name for a group of institutions? This book answers these questions, showing that in Europe's formation, myth and memory, although distinct, are often merged in a common attempt to construct an identity for its present and its future. In a time when Europe is facing an existential crisis, when its meaning is being questioned, Imagining Europe explores a vital and often unacknowledged aspect of the European project.

Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by defining the difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language.

Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by defining the difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language.

In this book, originally published in 2007, Chiara Bottici argues for a philosophical understanding of political myth. Bottici demonstrates that myth is a process, one of continuous work on a basic narrative pattern that responds to a need for significance. Human beings need meaning in order to master the world they live in, but they also need significance in order to live in a world that is less indifferent to them. This is particularly true in the realm of politics. Political myths are narratives through which we orient ourselves, and act and feel about our political world. Bottici shows that in order to come to terms with contemporary phenomena, such as the clash between civilizations, we need a Copernican revolution in political philosophy. If we want to save reason, we need to look at it from the standpoint of myth.