Specters of Democracy examines how figurations of blackness were used to illuminate the fraught relationship between citizenship, equality, and democracy in the antebellum U.S. Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman (on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.
In this rethinking of Marxism and its blind spots, Dick Howard argues that the collapse of European communism in 1989 should not be identified with a victory for capitalism and makes possible a wholesale reevaluation of democratic politics in the U.S. and abroad. The author turns to the American and French Revolutions to uncover what was truly "revolutionary" about those events, arguing that two distinct styles of democratic life emerged, the implications of which were misinterpreted in light of the rise of communism. Howard uses a critical rereading of Marx as a theorist of democracy to offer his audience a new way to think about this political ideal. He argues that it is democracy, rather than Marxism, that is radical and revolutionary, and that Marx could have seen this but did not. In Part I, Howard explores the attraction Marxism held for intellectuals, particularly French intellectuals, and he demonstrates how the critique of totalitarianism from a Marxist viewpoint allowed these intellectuals to see the radical nature of democracy. Part II examines two hundred years of democratic political life—comparing America's experience as a democracy to that of France. Part III offers a rethinking of Marx's contribution to democratic politics. Howard concludes that Marx was attempting a "philosophy by other means," and that paradoxically, just because he was such an astute philosopher, Marx was unable to see the radical political implications of his own analyses. The philosophically justified "revolution" turns out to be the basis of an anti-politics whose end was foreshadowed by the fall of European communism in 1989.
Specters of Democracy examines how figurations of blackness were used to illuminate the fraught relationship between citizenship, equality, and democracy in the antebellum U.S. Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman (on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.
Prodigiously influential, Jacques Derrida gave rise to a comprehensive rethinking of the basic concepts and categories of Western philosophy in the latter part of the twentieth century, with writings central to our understanding of language, meaning, identity, ethics and values. In 1993, a conference was organized around the question, 'Whither Marxism?’, and Derrida was invited to open the proceedings. 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.
Advocates a new existential and political coalition among critical and postmodern social theorists and among critical gender, race, and class theorists, in dissent from the New World Order, to raise specters of liberation and empower radical democratic change.
Hip Figures dramatically alters our understanding of the postwar American novel by showing how it mobilized fantasies of black style on behalf of the Democratic Party. Fascinated by jazz, rhythm and blues, and rock and roll, novelists such as Norman Mailer, Ralph Ellison, John Updike, and Joan Didion turned to hip culture to negotiate the voter realignments then reshaping national politics. Figuratively transporting white professionals and managers into the skins of African Americans, these novelists and many others insisted on their own importance to the ambitions of a party dependent on coalition-building but not fully committed to integration. Arbiters of hip for readers who weren't, they effectively branded and marketed the liberalism of their moment—and ours.
What happens to left and liberal political orientations when faith in progress is broken, when both the sovereign individual and sovereign states seem tenuous, when desire seems as likely to seek punishment as freedom, when all political conviction is revealed as contingent and subjective? Politics Out of History is animated by the question of how we navigate the contemporary political landscape when the traditional compass points of modernity have all but disappeared. Wendy Brown diagnoses a range of contemporary political tendencies--from moralistic high-handedness to low-lying political despair in politics, from the difficulty of formulating political alternatives to reproaches against theory in intellectual life--as the consequence of this disorientation. Politics Out of History also presents a provocative argument for a new approach to thinking about history--one that forsakes the idea that history has a purpose and treats it instead as a way of illuminating openings in the present by, for example, identifying the haunting and constraining effects of past injustices unresolved. Brown also argues for a revitalized relationship between intellectual and political life, one that cultivates the autonomy of each while promoting their interlocutory potential. This book will be essential reading for all who find the trajectories of contemporary liberal democracies bewildering and are willing to engage readings of a range of thinkers--Freud, Marx, Nietzsche, Spinoza, Benjamin, Derrida--to rethink democratic possibility in our time.
Jacques Derrida is, in the words of the New York Times, "perhaps the world's most famous philosopher—if not the only famous philosopher." He often provokes controversy as soon as his name is mentioned. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. The Work of Mourning is a collection that honors those friendships in the wake of passing. Gathered here are texts—letters of condolence, memorial essays, eulogies, funeral orations—written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jabès, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-François Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servière. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead—the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself. "In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes—how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work."—Steven Poole, Guardian "Strikingly simpa meditations on friendship, on shared vocations and avocations and on philosophy and history."—Publishers Weekly
