This collection addresses the important function of utopianism in social and political philosophy and includes debate on what its future role will be in a period dominated by dystopian nightmare scenarios.
Radical political thought of the 20th century was dominated by utopia, but the failure of communism in Eastern Europe and its disavowal in China has brought on the need for a new model of utopian thought. This book thus seeks to redefine the concept of utopia and bring it to bear on today's politics. The original essays, contributed by key thinkers such as Gianni Vattimo and Jean-Luc Nancy, highlight the connection between utopian theory and practice. The book reassesses the legacy of utopia and conceptualizes alternatives to the neo-liberal, technocratic regimes prevalent in today's world. It argues that only utopia in its existential sense, grounded in the lived time and space of politics, can distance itself from mainstream ideology and not be at the service of technocratic regimes, while paying attention to the material conditions of human life. Existential Utopia offers a new and exciting interpretation of utopia in contemporary culture and a much-needed intervention into the philosophical and political discussion of utopian thinking that is both accessible to students and comprehensive.
Very few thinkers have traveled the heretical path that François Laruelle walks between philosophy and non-philosophy. For Laruelle, the future of philosophy is problematic, but a mutation of its functions is possible. Up until now, philosophy has merely been a utopia concerned with the past and only provided the services of its conservation. We must introduce a rigorous and nonimaginary practice of a utopia in action, a philo-fiction—a close relative to science fiction. From here we can see the double meaning of the watchword, a tabula rasa of the future. This new destination is imposed by a specifically human messianism, an eschatology within the limits of the Man-in-person as antihumanist ultimatum addressed to the History of Philosophy. This book elucidates some of the fundamental problems of non-philosophy and takes on its detractors.
This edition includes: -Several illustrations from the original work -Extended and up to date introduction -A discussion of the structure of the book First published in 1516, Saint Thomas More's Utopia is one of the most important works of European humanism. Through the voice of the mysterious traveller Raphael Hythloday, More describes a pagan, communist city-state governed by reason. Addressing such issues as religious pluralism, women's rights, state-sponsored education, colonialism, and justified warfare, Utopia seems remarkably contemporary nearly five centuries after it was written, and it remains a foundational text in philosophy and political theory. Precminent More scholar Clarence H. Miller does justice to the full range of More's rhetoric in this new translation. Professor Miller includes a helpful introduction that outlines some of the important problems and issues that Utopia raises, and also provides informative commentary to assist the reader throughout this challenging and rewarding exploration of the meaning of political community.
I am. We are. That is enough. Now we have to start. These are the opening words of Ernst Bloch's first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch's Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of "disciplines." Yet there is hardly a "discipline" that didn't adopt, however unknowingly, some of Bloch's insights, and his provocative associations often proved more productive than the statistical account of social shifts. The first part of this philosophical meditation--which is also a narrative, an analysis, a rhapsody, and a manifesto--concerns a mode of "self-encounter" that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. This "we-problem" is worked out by Bloch in terms of a philosophy of the history of music. The "self-encounter," however, has to be conceived as "self-invention," as the active, affirmative fight for freedom and social justice, under the sign of Marx. The second part of the book is entitled "Karl Marx, Death and the Apocalypse." I am. We are. That's hardly anything. But enough to start.
Utopias come in every conceivable cultural and sexual shade: communist, fascist, anarchist, green, techno-fantastic, all male, all female. John Carey's anthology encompasses many noble schemes, as well as chilling attempts at social control.
This collection addresses the important function of utopianism in social and political philosophy and includes debate on what its future role will be in a period dominated by dystopian nightmare scenarios.
I am. We are. That is enough. Now we have to start. These are the opening words of Ernst Bloch’s first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch’s Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of “disciplines.” Yet there is hardly a “discipline” that didn’t adopt, however unknowingly, some of Bloch’s insights, and his provocative associations often proved more productive than the statistical account of social shifts. The first part of this philosophical meditation—which is also a narrative, an analysis, a rhapsody, and a manifesto—concerns a mode of “self-encounter” that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. This “we-problem” is worked out by Bloch in terms of a philosophy of the history of music. The “self-encounter,” however, has to be conceived as “self-invention,” as the active, affirmative fight for freedom and social justice, under the sign of Marx. The second part of the book is entitled “Karl Marx, Death and the Apocalypse.” I am. We are. That’s hardly anything. But enough to start.