For a century now Marxists have been searching for a 'rational kernel' of Hegelian 'dialectics' inside the 'mystical shell' of the Hegelian system. As against this entire tradition, Rosenthal insists that Hegelian philosophy is mysticism all the way through. He argues that Marx's supposed `dialectic method' is simply a myth propagated by academics and proposes the provocative thesis that it is not, after all, Hegel's 'method' of which Marx made use in Capital but rather precisely Hegel's mysticism. The role of money in Marx and Hegel is examined in detail.
"The Dialectics of Myth is the last book of non-Marxist philosophy to have been published in Russia prior to the onset of Stalinism. It was suppressed during Stalin's regime, and its editions confiscated and destroyed, whilst its implicit attack on the authoritarian Soviet state resulted in Losev's arrest in 1930 and his confinement for three years in a forced labour camp. Following his release, Losev was never again permitted to write on spiritual or political themes. This new edition is based upon the definitive Russian text and includes a full introduction, chronology and notes."--BOOK JACKET.
For over fifty years, Hegel interpreters have rejected the former belief that Hegel used thesis-antithesis-synthesis dialectics. In this incisive analysis of Hegel's philosophy, Leonard F. Wheat shows that the modern interpretation is false. Wheat rigorously demonstrates that there are in fact thirty-eight well-concealed dialectics in Hegel's two most important works--twenty-eight in Phenomenology of Spirit and ten in The Philosophy of History. Wheat also develops other major new insights: • Hegel's chief dialectical format consists of a two-concept thesis, a two-concept antithesis, and a two-concept synthesis that borrows one concept from the thesis and one from the antithesis. • All dialectics are analogically based on the Christian separation-and-return myth: the dialectic separates from and returns to a thesis concept. • Hegel's enigmatic Spirit is a four-faceted, deliberately fictitious, nonsupernatural entity that exists only as an atheistic redefinition of "God." • Spirit's "divine life" begins not with consciousness but with unconsciousness, in the prehuman state of nature-before Spirit acquires its human mind. • Hegel's concept of freedom is not a sociopolitical concept but release from bondage to religious superstition (belief in a supernatural God). • In Hegel's widely misinterpreted master-and-slave parable, the master is God, the slave is man, and the slave's gaining his freedom is man's becoming an atheist. • The standard non-Hegelian base-superstructure interpretation of Marx's dialectics is false. Marx's basic dialectic is actually this: thesis = communal ownership poverty, antithesis = private ownership wealth, synthesis = communal ownership wealth. Wheat also shows that Marx and Tillich, who subtly used Hegelian dialectics in their own works, are the only authors who have understood Hegelian dialectics. Thoroughly researched and exhaustive in detail, this radical reinterpretation of Hegel's philosophy should greatly interest Hegel scholars and students.
Badiou and Hegel: Infinity, Dialectics, Subjectivity offers critical appraisals of two of the dominant figures of the Continental tradition of philosophy, Alain Badiou and G.W.F. Hegel. Jim Vernon and Antonio Calcagno bring together established and emerging authors in Continental philosophy to discuss the relationship between the thinkers, creating a multifarious collection of essays by Hegelians, Badiouans, and those sympathetic to both. The text privileges neither thinker, nor any particular topic shared between them; rather, this book lays a broad and sound foundation for future scholarship on arguably two of the greatest thinkers of infinity, universality, subjectivity, and the enduring value of philosophy in the modern Western canon. Assuredly overdue, this volume will attract Hegel and Badiou scholars, as well as those interested in post-structuralism, political philosophy, cultural studies, ontology, philosophy of mathematics, and psychoanalysis.
Marx and Hegel on the Dialectic of the Individual and the Social is a detailed investigation of the major works of Hegel and the young Marx with exploring how the concept of the individual is positioned within their ontologies and how this positioning is reflected in their related political views. Instead of contrasting a Marxist understanding of the individual with that of a liberal thinker, Sevgi Dogan chooses to take Hegel’s theory of the state as representative of the modern state, which Marx criticizes. The decision to be in opposition to Hegel rather than some other liberal thinkers is important for two reasons. First, since Marx has developed many of his early ideas in critical interaction with Hegel, this comparative approach enables the book to present a more thorough and well-grounded exposition of Marx’s arguments. Second, since Hegel himself has also criticized the concepts of liberal ideology in many respects, differentiating Marx’s arguments from those of Hegel’s enables the book to underline how and why Hegel’s critique of liberal ideology falls short of actually empowering individuals in the way that Marx’s account does.
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.
Adorno’s lectures on ontology and dialectics from 1960–61 comprise his most sustained and systematic analysis of Heidegger’s philosophy. They also represent a continuation of a project that he shared with Walter Benjamin – ‘to demolish Heidegger’. Following the publication of the latter’s magnum opus Being and Time, and long before his notorious endorsement of Nazism at Freiburg University, both Adorno and Benjamin had already rejected Heidegger’s fundamental ontology. After his return to Germany from his exile in the United States, Adorno became Heidegger’s principal intellectual adversary, engaging more intensively with his work than with that of any other contemporary philosopher. Adorno regarded Heidegger as an extremely limited thinker and for that reason all the more dangerous. In these lectures, he highlights Heidegger’s increasing fixation with the concept of ontology to show that the doctrine of being can only truly be understood through a process of dialectical thinking. Rather than exploiting overt political denunciation, Adorno deftly highlights the connections between Heidegger’s philosophy and his political views and, in doing so, offers an alternative plea for enlightenment and rationality. These seminal lectures, in which Adorno dissects the thought of one of the most influential twentieth-century philosophers, will appeal to students and scholars in philosophy and critical theory and throughout the humanities and social sciences.
Anticolonial theorists and revolutionaries have long turned to dialectical thought as a central weapon in their fight against oppressive structures and conditions. This relationship was never easy, however, as anticolonial thinkers have resisted the historical determinism, teleology, Eurocentrism, and singular emphasis that some Marxisms place on class identity at the expense of race, nation, and popular identity. In recent decades, the conflict between dialectics and postcolonial theory has only deepened. In Decolonizing Dialectics Geo Maher breaks this impasse by bringing the work of Georges Sorel, Frantz Fanon, and Enrique Dussel together with contemporary Venezuelan politics to formulate a dialectics suited to the struggle against the legacies of colonialism and slavery. This is a decolonized dialectics premised on constant struggle in which progress must be fought for and where the struggles of the wretched of the earth themselves provide the only guarantee of historical motion.
A major study of modern culture, Dialectic of Enlightenment for many years led an underground existence among the homeless Left of the German Federal Republic until its definitive publication in West Germany in 1969. Originally composed by its two distinguished authors during their Californian exile in 1944, the book can stand as a monument of classic German progressive social theory in the twentieth century.>
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.
