Literary forms travel from core countries to the periphery of capitalism, where they are adopted under social conditions that differ from those in the countries of their origin. Besides being inevitable, the resulting maladjustments lead to new and original aesthetic problems, presenting to the reader the symptoms of the world’s complexity. When properly worked through, these allow for the rise of world-class art, as in the case of the great Brazilian novels by Machado de Assis.
First published in Portuguese in 1977 as
Ao vencedor as batatas: Forma literária e processo social nos inícios do romance brasileiro by Duas Cidades/Editora 34, ISBN 978-85-7326-169-2, and presented here in a new English-language translation,
To the Victor, the Potatoes! is a major work of one of the most significant Marxist literary critics of our time.
Bourdieu in Question: New Directions in French Sociology of Art, Jeffrey A. Halley and Daglind E. Sonolet offer to English-speaking audiences an account of the very lively Francophone debates over Pierre Bourdieu’s work in the domain of the arts and culture, and present other directions and perspectives taken by major French researchers who extend or differ from his point of view, and who were marginalized by the Bourdieusian moment.
Three generations of research are presented: contemporaries of Bourdieu, the next generation, and recent research. Themes include the art market and value, cultural politics, the reception of artworks, theory and the concept of the artwork, autonomy in art, ethnography and culture, and the critique of Bourdieu on literature.
Contributors are: Howard S. Becker, Martine Burgos, Marie Buscatto, Jean-Louis Fabiani, Laurent Fleury, Florent Gaudez, Jeffrey A. Halley, Nathalie Heinich, Yvon Lamy, Jacques Leenhardt, Cécile Léonardi, Clara Lévy, Pierre-Michel Menger, Raymonde Moulin, Jean-Claude Passeron, Emmanuel Pedler, Bruno Péquignot, Alain Quemin, Cherry Schrecker, Daglind E. Sonolet.
In Rousseau and Critical Theory, Alessandro Ferrara argues that among the modern philosophers who have shaped the world we inhabit, Rousseau is the one to whom we owe the idea that identity can be a source of normativity (moral and political) and that an identity’s potential for playing such a role rests on its capacity for being authentic. This normative idea of authenticity brings unity to Rousseau’s reflections on the negative effects of the social order, on the just political order, on education, and more generally, on ethics. It is also shown to contain important teachings for contemporary Critical Theory, contemporary views of self-constitution (Korsgaard, Frankfurt and Larmore), and contemporary political philosophy.
Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven’s voice as an unorthodox Marxist who applied historical materialism to the study of modern art. This book demonstrates the range and versatility of David Craven’s praxis as a ‘democratic socialist’ art historian who assessed the essential role the visual arts play in imagining more just and equitable societies. The essays collected here reveal Craven’s lifelong commitment to exposing interstices between western and non-western cultures by researching the reciprocating influences between First- and Third-World artists, critics and historians.
Marx and Critical Theory examines Marx’s main philosophical, political and social theoretical ideas. Its purpose is twofold: making sense of the concepts and theses of Marx, and showing that they remain relevant for contemporary critical theory. Part 1 focuses on Marx’s conception of philosophy. Part 2 analyses the Marxian primacy of the practical. Part 3 is devoted to Capital and the critique of political economy. This book will be useful for those who want to deepen their understanding of Marx’s main ideas, as well as for those who want to clarify what is at stake in contemporary debates about the ways in which contemporary critical theory could or should refer to Marx.
At a time of growing interest in relations between Marxism and Romanticism, Andrew Hemingway’s essays on British art and art theory reopen the question of Romantic painting’s ideological functions and, in some cases, its critical purchase. Half the volume exposes the voices of competing class interests in aesthetics and art theory in the tumultuous years of British history between the American Revolution and the 1832 Parliamentary Reform Act. Half offers new perspectives on works by some of the most important landscape painters of the time: John Constable, J.M.W. Turner, John Crome, and John Sell Cotman. Four essays are hitherto unpublished, and the remainder have been updated and in several cases substantially rewritten for this volume.
Critique of Rationality, John Eustice O’Brien proposes a fascinating rectification for the distortion of technical necessity in Western Society due to unbridled instrumental reason. He begins with a review of this issue first raised by the Early German Romantics as discussed by Isaiah Berlin and Walter Benjamin. Following French social philosopher Maurice Merleau-Ponty’s radically different apperceptive epistemology, he explores the possibility of a social world in which each is anchored by a préobjective disposition to meaning based on the intersubjective presence of all. This justifies the postulate of aesthetic-consciousness as the site of socialization in communities of meaning, as a frame for judgment and creativity. The struggle must continue for awakening that consciousness if an open society is to be realized.