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Concerns over the rise of fascism have been preoccupied with the
Trump presidency and the Brexit vote in the UK, yet, globally, we
are witnessing a turn towards anti-democratic and illiberal forces.
From the tragic denouement of the Egyptian Revolution to the
consolidation of the so-called Gujarat Model in India under the
leadership of Prime Minister Narendra Modi and the consolidation of
the power of Turkish President Recep Tayyip Erdogan, to the recent
election of Jair Bolsonaro in Brazil, fascist ideology, aesthetics
and fascist personalities appear across the globe. Spectres of
Fascism makes a significant contribution to the unfolding
discussion on whether what we are witnessing today is best
understood as a return to classic twentieth-century 'fascism,' or
some species of what has been called 'post-fascism.' Applying a
uniquely global perspective, it combines analyses of historical
contexts, theoretical approaches and contemporary geopolitics.
Hannah Arendt and Theodor W. Adorno, two of the most influential
political philosophers and theorists of the twentieth century, were
contemporaries with similar interests, backgrounds, and a shared
experience of exile. Yet until now, no book has brought them
together. In this first comparative study of their work, leading
scholars discuss divergences, disclose surprising affinities, and
find common ground between the two thinkers. This pioneering work
recovers the relevance of Arendt and Adorno for contemporary
political theory and philosophy and lays the foundation for a
critical understanding of political modernity: from universalistic
claims for political freedom to the abyss of genocidal politics.
Concerns over the rise of fascism have been preoccupied with the
Trump presidency and the Brexit vote in the UK, yet, globally, we
are witnessing a turn towards anti-democratic and illiberal forces.
From the tragic denouement of the Egyptian Revolution to the
consolidation of the so-called Gujarat Model in India under the
leadership of Prime Minister Narendra Modi and the consolidation of
the power of Turkish President Recep Tayyip Erdogan, to the recent
election of Jair Bolsonaro in Brazil, fascist ideology, aesthetics
and fascist personalities appear across the globe. Spectres of
Fascism makes a significant contribution to the unfolding
discussion on whether what we are witnessing today is best
understood as a return to classic twentieth-century 'fascism,' or
some species of what has been called 'post-fascism.' Applying a
uniquely global perspective, it combines analyses of historical
contexts, theoretical approaches and contemporary geopolitics.
This book explores the tradition, impact, and contemporary
relevance of two key ideas from Western Marxism: Georg Lukacs's
concept of reification, in which social aspects of humanity are
viewed in objectified terms, and Guy Debord's concept of the
spectacle, where the world is packaged and presented to consumers
in uniquely mediated ways. Bringing the original, yet now often
forgotten, theoretical contexts for these terms back to the fore,
Johan Hartle and Samir Gandesha offer a new look at the importance
of Western Marxism from its early days to the present moment-and
reveal why Marxist cultural critique must continue to play a vital
role in any serious sociological analysis of contemporary society.
Hannah Arendt and Theodor W. Adorno, two of the most influential
political philosophers and theorists of the twentieth century, were
contemporaries with similar interests, backgrounds, and a shared
experience of exile. Yet until now, no book has brought them
together. In this first comparative study of their work, leading
scholars discuss divergences, disclose surprising affinities, and
find common ground between the two thinkers. This pioneering work
recovers the relevance of Arendt and Adorno for contemporary
political theory and philosophy and lays the foundation for a
critical understanding of political modernity: from universalistic
claims for political freedom to the abyss of genocidal politics.
The whole of Marx's project confronts the narrow concerns of
political philosophy by embedding it in social philosophy and a
certain understanding of the aesthetic. From those of aesthetic
production to the "poetry of the future" (as Marx writes in the
Eighteenth Brumaire), from the radical modernism of bourgeois
development to the very idea of association (which defined one of
the main lines of tradition in the history of aesthetics), steady
references to Dante, Shakespeare and Goethe, and the idea that
bourgeois politics is nothing but a theatrical stage: the aesthetic
has a prominent place in the constellation of Marx's thought. This
book offers an original and challenging study of both Marx in the
aesthetic, and the aesthetic in Marx. It differs from previous
discussions of Marxist aesthetic theory as it understands the works
of Marx themselves as contributions to thinking the aesthetic. This
is an engagement with Marx's aesthetic that takes into account
Marx's broader sense of the aesthetic, as identified by Eagleton
and Buck-Morss - as a question of sense perception and the body. It
explores this through questions of style and substance in Marx and
extends it into contemporary questions of how this legacy can be
perceived or directed analytically in the present. By situating
Marx in contemporary art debates this volume speaks directly to
lively interest today in the function of the aesthetic in accounts
of emancipatory politics and is essential reading for researchers
and academics across the fields of political philosophy, art
theory, and Marxist scholarship.
The whole of Marx's project confronts the narrow concerns of
political philosophy by embedding it in social philosophy and a
certain understanding of the aesthetic. From those of aesthetic
production to the "poetry of the future" (as Marx writes in the
Eighteenth Brumaire), from the radical modernism of bourgeois
development to the very idea of association (which defined one of
the main lines of tradition in the history of aesthetics), steady
references to Dante, Shakespeare and Goethe, and the idea that
bourgeois politics is nothing but a theatrical stage: the aesthetic
has a prominent place in the constellation of Marx's thought. This
book offers an original and challenging study of both Marx in the
aesthetic, and the aesthetic in Marx. It differs from previous
discussions of Marxist aesthetic theory as it understands the works
of Marx themselves as contributions to thinking the aesthetic. This
is an engagement with Marx's aesthetic that takes into account
Marx's broader sense of the aesthetic, as identified by Eagleton
and Buck-Morss - as a question of sense perception and the body. It
explores this through questions of style and substance in Marx and
extends it into contemporary questions of how this legacy can be
perceived or directed analytically in the present. By situating
Marx in contemporary art debates this volume speaks directly to
lively interest today in the function of the aesthetic in accounts
of emancipatory politics and is essential reading for researchers
and academics across the fields of political philosophy, art
theory, and Marxist scholarship.
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