This book fundamentally challenges the radical credentials of post-structuralism. Though Derrida, Foucault and Deleuze claim to have 'deconstructed' metaphysics, their work has much in common with previous attempts to 'end' the metaphysical tradition, from Kant to Nietzshe and Heidegger, and by sociology in general. Gillian Rose shows that this anti-metaphysical writing always appears in historically specific jurisprudential terms, which themselves found and recapitulate metaphysical categories. She reconsiders post-structuralism in this light and assesses the relationship between deconstruction and the earlier structuralism of Saussure and Levi-Strauss. She argues in conclusion that the choice between post-structuralist nihilism and Hegelian and Marxist dialectic is spurious.
A militant Marxist atheist and a “Radical Orthodox” Christian theologian square off on everything from the meaning of theology and Christ to the war machine of corporate mafia. “What matters is not so much that Žižek is endorsing a demythologized, disenchanted Christianity without transcendence, as that he is offering in the end (despite what he sometimes claims) a heterodox version of Christian belief.”—John Milbank “To put it even more bluntly, my claim is that it is Milbank who is effectively guilty of heterodoxy, ultimately of a regression to paganism: in my atheism, I am more Christian than Milbank.”—Slavoj Žižek In this corner, philosopher Slavoj Žižek, a militant atheist who represents the critical-materialist stance against religion's illusions; in the other corner, “Radical Orthodox” theologian John Milbank, an influential and provocative thinker who argues that theology is the only foundation upon which knowledge, politics, and ethics can stand. In The Monstrosity of Christ, Žižek and Milbank go head to head for three rounds, employing an impressive arsenal of moves to advance their positions and press their respective advantages. By the closing bell, they have not only proven themselves worthy adversaries, they have shown that faith and reason are not simply and intractably opposed. Žižek has long been interested in the emancipatory potential offered by Christian theology. And Milbank, seeing global capitalism as the new century's greatest ethical challenge, has pushed his own ontology in more political and materialist directions. Their debate in The Monstrosity of Christ concerns the future of religion, secularity, and political hope in light of a monsterful event—God becoming human. For the first time since Žižek's turn toward theology, we have a true debate between an atheist and a theologian about the very meaning of theology, Christ, the Church, the Holy Ghost, Universality, and the foundations of logic. The result goes far beyond the popularized atheist/theist point/counterpoint of recent books by Christopher Hitchens, Richard Dawkins, and others. Žižek begins, and Milbank answers, countering dialectics with “paradox.” The debate centers on the nature of and relation between paradox and parallax, between analogy and dialectics, between transcendent glory and liberation. Slavoj Žižek is a philosopher and cultural critic. He has published over thirty books, including Looking Awry, The Puppet and the Dwarf, and The Parallax View (these three published by the MIT Press). John Milbank is an influential Christian theologian and the author of Theology and Social Theory: Beyond Secular Reason and other books. Creston Davis, who conceived of this encounter, studied under both Žižek and Milbank.
Although Mishima's main literary ambition was to write philosophical novels in the tradition of Goethe and Thomas Mann, Deadly Dialectics is the first critical study to take this objective seriously: it also provides the first adequate account of Mishima's intellectual background and characteristic modes of thought and it is the first book to show the intimate and integral relation between his thought and his psychology and militant politics - or, more specifically, between his nihilism, his sexuality and his propensity to violence.
This text re-reads Western history in the light of nihilistic logic, which pervades two millennia of Western thought. From Parmenides to Alain Badiou, via Plotinus, Avicenna, Duns Scotus, Ockham, Descartes, Spinoza, Kant, Hegel, Heidegger, Sartre, Lacan, Deleuze and Derrida, a genealogy of nothingness can be witnessed in development, with devastating consequences for the way we live.
This book pushes nihilism to its ultimate conclusion by linking revisionary naturalism in Anglo-American philosophy with anti-phenomenological realism in French philosophy. Contrary to the 'post-analytic' consensus uniting Heidegger and Wittgenstein against scientism and scepticism, this book links eliminative materialism and speculative realism.
In this progression, which the author describes as the unfolding of the hedonistic potential of utopianism, Marxism became China's road to capitalism and consumerism.
Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.
This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Philosophy in a Meaningless Life provides an account of the nature of philosophy which is rooted in the question of the meaning of life. It makes a powerful and vivid case for believing that this question is neither obscure nor obsolete, but reflects a quintessentially human concern to which other traditional philosophical problems can be readily related; allowing them to be reconnected with natural interest, and providing a diagnosis of the typical lines of opposition across philosophy's debates. James Tartaglia looks at the various ways philosophers have tried to avoid the conclusion that life is meaningless, and in the process have distanced philosophy from the concept of transcendence. Rejecting all of this, Tartaglia embraces nihilism ('we are here with nothing to do'), and uses transcendence both to provide a new solution to the problem of consciousness, and to explain away perplexities about time and universals. He concludes that with more self-awareness, philosophy can attain higher status within a culture increasingly in need of it.
