A symposium on the subject "The Crisis of Bourgeois Democracy and Violation of Human Rights in the Capitalist World" took place in Moscow in December 1976. The symposium was conducted by the Institute of State and Law and the Learned Council of the USSR Academy of Sciences on Problems of Ideological Currents Abroad.

This book presents a collection of contemporary discourses that reconsider the relationship of democracy as a political ideology and American ideal and education as the foundation of preparing democratic citizens in America.

Recent years have been marked by major victories for the forces of progress in preventing a military clash between the two opposing worlds - of socialism and of capitalism. But the struggle for détente, for lasting peace and disarmament, naturally does not abolish, nor can it abolish, the ideological struggle that has become noticeably more complicated in its present stage, encompassing within its purview the spheres of economics, politics, law, ethics, and others. Questions of government and democracy predominate in (...) the ideological conflict. (shrink)

Joseph Schumpeter’s Capitalism, Socialism and Democracy captures the unique blend of politics and economics, along with a particular culture and civil society, that are characteristic of liberal democracy. Commercial and economic activity have been so crucial to liberal democracy that it has often been characterized as “commercial republicanism,” and Schumpeter referred to it with justification as “bourgeois democracy.” Schumpeter’s view, which is too often characterized as simply elitist, can be situated in the realist tradition, offering (...) a helpful corrective to simplistic understandings of democracy, such as populist understandings, that are at odds with the promise of liberal democracy. Yet while Schumpeter thought that capitalism would collapse under its own contradictions, and wondered if democracy could survive without it, today global capitalism looks unstoppable. It is bourgeois democracy that looks fragile, not because of the collapse of capitalism, as Schumpeter predicted, but because of its success. Can liberal democracy surive if global capitalism undermines the middle class on which it depends? (shrink)

One of the most important postulates of Marxism-Leninism is the notion of the inseparability of the ideals of socialism and democracy. Today as in the past, the struggle of the working class of the capitalist countries is, in the final analysis, a struggle for genuine democracy, for democracy for those who work. But this struggle is effective only if the political consciousness of the exploited masses is permeated with the conviction that democracy in capitalist society is (...) one of the forms of political dominance by the bourgeoisie, that the transition from capitalism to socialism requires revolutionary establishment of socialist democracy, that the superiority of the democratic arrangements of real socialism over bourgeois parliamentary arrangement is indisputable. (shrink)

The most valuable political theoretical contribution made by Marx's idea of socialism is towards the resolution of the seeming opposition of mass democracy and rational government. Marx follows Hegel's redefinition of political rationalization as the actualization of the nascent self?consciousness of the existing ethical world when he uses socialism as a statement of those tendencies of bourgeois society that will create the perspectives of social awareness that allow mass democracy. This thesis is made against aspects of the (...) interpretation of Marx's relation to Hegel in Bolshevik political theory. I claim that the Bolshevik idea of socialism as the militant political intervention of the dictatorship of the proletariat develops, through Engels, a position taken with respect to Hegel's philosophy of right in Marx's Rhenish Journal articles. This idea is, however, pre?Hegelian in the sense that it is open to a democratic criticism based on the philosophy of right understood in an alternative fashion. In his writings after leaving the Rhenish Journal and up to the Economic and Philosophical Manuscripts Marx makes this alternative available, and the notion of socialism he arrives at here turns on an awareness of the contradictions which make the militant political imposition of freedom impossible. Whereas for Bolshevism socialism is to be imposed on existing society, for Marx it is more the development within that society that makes possible mass democratic freedom. (shrink)

My aim in this essay is to distinguish and comment on a specific movement of thought which I shall call “democracy as a telos.” This expression refers to a conception of democracy, cultivated by normative political philosophers, in which all democratic potentialities have at last been realized. The result is thought to be a perfected political community. Democracy as a telos must thus be distinguished from the actual liberal democracies we enjoy at the end of the twentieth (...) century. Indeed, democracy as a telos takes off from a specific rejection of such familiar institutions as elections, political parties, oppositions, a free press, and the rest, which are regarded, according to taste, as individualistic, bourgeois, atomistic, formal, and abstract. Democracy as a telos refers to the theories of reformers who, dissatisfied with our present condition, argue that only a radically transformed democracy can generate a real political community. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.2 (2006) 410-423 MuseSearchJournalsThis JournalContents[Access article in PDF]Reading Our Way To Democracy? Literature and Public EthicsSimon Stow The College of William and Mary"I believe," wrote Franz Kafka, "that we should only read those books that bite and sting us. If a book we are reading does not rouse us with a blow to the head, then why read it?" 1 Almost all of us who (...) read books for a living and/or pleasure have undoubtedly experienced that most delightfully troubling of phenomena: a novel that forces us to think differently about the world and the way that we live. In recent years, literature's capacity to generate in its readers "a rigorous scrutiny of everything they believe in and live by" 2 —what Stanley Fish calls its "dialectical" potential—has drawn the attention of a number of liberal-democratic theorists, most notably Martha Nussbaum and Richard Rorty. By "liberal-democratic" is meant here, of course, that system of government with popular rule, regular elections, a commitment to individual rights and the rule of law; one that draws on a tradition of political thought that includes the work of John Locke, John Stuart Mill and John Rawls. Although their exact formulations of the claim differ in important ways, Nussbaum and Rorty are united in the belief that reading can enhance the practice of liberal-democracy by expanding the moral imaginations of a citizenry. Such an expansion will, they believe, promote the values of tolerance, respect for other viewpoints, and a recognition of the contingency of one's own perspective, in short, the values of civil society. Whilst there is undoubtedly something intuitively appealing about their claim, there is much that is philosophically and politically problematic about their respective formulations of it. Both seem to rest for example upon an implausible theory of the impact of literature upon its readers, and an illiberal tendency to treat reader-citizens as means and not as ends. Attempting to capture what is of value [End Page 410] whilst jettisoning what is problematic, I will briefly set out their claims; identify the difficulties within them; and offer an account of how their project might be operationalized in a way that is both more philosophically plausible and more politically consistent with liberalism. My aim will not be to offer another detailed account of the connection between literature and democracy—not least because I believe that the current accounts are overly deterministic—but rather to suggest some ways in which we might nevertheless build upon the current work to capture the potential benefits of reading for liberal-democratic societies.Although Martha Nussbaum and Richard Rorty hold quite different views about the proper role of literature in philosophy—Nussbaum believes that literature is merely a valuable addition to philosophical Reason traditionally conceived, whereas for the postfoundational Rorty, the literariness goes all the way down—both suggest that reading will promote two values that they regard as essential to liberal-democratic practice. Following Rorty we might label these values contingency and solidarity. 3 Contingency arises from the recognition that even one's most deeply held beliefs are always only a perspective. It is connected to civility in that it serves, Nussbaum and Rorty believe, to undermine the vehemence of individual claims. Although this claim about the partiality of individual perspectives sounds dangerously postmodern for thinker such as Nussbaum—Rorty, who calls his political philosophy "postmodernist bourgeois liberalism," 4 has no such qualms—there are limits to this insight in her thought. Nussbaum is simply concerned to show that an excessive and over-confident reliance on philosophical Reason is likely to generate an incomplete understanding of a given situation. For this reason, she suggests, "storytelling and literary imagining are not opposed to... but can provide essential ingredients in a rational argument." 5 She argues, for example, that Hard Times by Charles Dickens will alert its readers—in particular "the person brought up solely on economic texts" who "has not been encouraged to think of workers (or indeed anybody else) as fully human... (shrink)

Just days after the election of Donald Trump to the presidency of the United States, specific passages from American philosopher Richard Rorty’s 1998 book were shared thousands of times on social media. Both and wrote about Rorty’s prophecy and its apparent realization, as within the haze that followed this unexpected victory, Rorty seemed to offer a presciently trenchant analysis of what led to the rise of “strong man” Trump. However, in this paper, Forstenzer points to Rorty’s own potential intellectual responsibility (...) in the unfolding crisis of liberal democracy. -/- This paper seeks to elucidate the relationship between Rorty’s liberal ironism and contemporary post-truth politics. While the paper ultimately concludes that Rorty is not causally responsible and thus not complicit with the rise of post-truth politics, it contends that Rorty’s philosophical project bears some intellectual responsibility for the onset of post-truth politics insofar as it took a complacent attitude towards the dangers associated with over-affirming the contingency of our epistemic practices in public debate. In the last instance, this paper argues that Rorty’s complacency is a pragmatic failure and thus cuts to the heart of his pragmatism. (shrink)

One of the most important theoretical and ideological tasks of Marxist philosophy is the critical study of the philosophical thought of the West. In the second half of the 1970s and beginning of the 1980s, the ideological struggle on the international arena entered a new stage. It was characterized by the turn of the forces of imperialist reaction away from the politics of detente to the politics of the "cold war," to the active opposition to the forces of peace, (...) class='Hi'>democracy, and socialism. The struggle of ideas has swung back and forth in the context of, on the one hand, a resurgence of reactionary anticommunist tendencies, and the stimulation and expansion of antimilitary movements and the struggles of the peoples for peace and socialism on the other. (shrink)

Whether or not Marxism leads straight to authoritarianism and the destruction of individual liberty is a question which has long exercised both theorists and politicians. This paper deals with a narrower, though related issue: Is Marxism actually reconcilable with radical democracy, the type of democracy advocated by those, including Marxists, who berate the iniquities and hypocrisy of parliamentary liberalism? The answer, according to my paper, is no. The Marxist tradition contains four characteristic features which tend to contradict the (...) participatory procedures most Marxists profess to desire. These features are: (1) the view of Marxism as a science, yielding objective solutions to social and political dilemmas; (2) the messianic aspiration for a society of perfect unity; (3) the belief that human rights are not independent moral norms but so much bourgeois ?ideological nonsense? (Marx), expressing the antagonistic relationships of the capitalist regime; and (4) hostility to the market mechanism, which results in a preference for a totally planned economy. Marxism, unless revised beyond recognition, would seem, paradoxically, to be more congruous with the élitist, constricted type of democracy we have in the West than with the more egalitarian mode of decision?making defended in the writings of Marx himself. (shrink)

Philosophe et sociologue proche de Durkheim avec lequel il lancera L’Année sociologique, Célestin Bouglé (1870-1940) est surtout connu pour ses Essais sur le régime des castes (1908) et sa critique de l’anthroposociologie de Lapouge. Ses intérêts sociologiques demeurent toutefois indissociables de son attachement au républicanisme démocratique. En s’attardant sur la philosophie sociale de Bouglé, cet article vise à explorer la forme que prend la démocratie dans sa pensée politique et républicaine en s’attardant sur l’influence que Proudhon a pu exercer sur (...) cette pensée. Cette influence semble conférer à la philosophie de la solidarité de Bouglé une dimension particulière par rapport à la pensée du père du solidarisme, Léon Bourgeois. Sans s’opposer à ce dernier, le solidarisme de Bouglé semble plutôt être une tentative de compléter le projet politique de Bourgeois par l’ajout d’une réflexion sur la question morale de l’expression de la solidarité dans la quotidienneté. (shrink)

Interpretation of the classics in political theory seems to go in waves. For a while we had John Locke, the bourgeois thinker. Now we seem to be in a Locke-as-radical-democrat phase. Locke-the-bourgeois had problems of its own, but a radically democratic Locke -- not just the old Locke as liberal democrat but Locke as quasi-Leveller -- strains the interpretative imagination more than most; yet in recent years, several different kinds of argument have been advanced in support of it, (...) both textual and contextual. The most effective argument has proceeded by situating Locke in the context of radical Whig politics in the 1670s and '80s, the struggles over religious toleration and the royal succession, in particular the �Exclusion Crisis� of 1679-81. This contextual argument has been accompanied by various textual interpretations having to do with Locke's conceptions of property, consent, representation, the right of revolution and natural law. Among other things, these are supposed to show that while Locke had nothing explicit to say about the extent of the franchise, the weight of evidence suggests that he would have supported a fairly wide franchise, perhaps even something like the (almost) manhood suffrage advocated by the Levellers (at least according to some, and probably the most convincing, interpretations of their ideas). Most recently, in these pages, Martin Hughes, building on the work of James Tully and Richard Ashcraft in particular, has pushed the argument as far as it can probably go. His argument on taxation and suffrage has provided a motivation here for a wider exploration of Locke's views on representation, consent and the franchise. (shrink)

The past twenty years have witnessed the consolidation of deliberation as the normative basis of democratic theory. Although different versions of deliberative democracy vary in scope and degree of institutionalization, they share the assumption that the rational consensus engendered through discussion should serve as the normative guide for democratic politics. Although this tradition has roots in the birth of bourgeois liberal thought, it has received renewed attention due to Habermas’s reformulation on the basis of discourse ethics. In his (...) middle period, Habermas had attempted to ground rationality in the structure of discourse itself, in the ideal preconditions of intersubjective communication.1 His more pragmatist heirs, however, jettison transcendental truth claims while maintaining that deliberation can enhance the legitimacy of consensual solutions to the moral dilemmas which divide citizens. (shrink)

The concepts of “radicalism” and “extremism” have been the focus of increasing scholarly attention in recent years, but, surprisingly, there has not been the same kind of effort to specify their opposites, such as the concept of “moderation.” In this article I argue that because “radicalism” and “extremism” have been defined in generally negative terms, we may deepen and refine our understanding of moderation once we are equipped with a more neutral conception of radicalism. Accordingly, I propose a new approach (...) to the study of radical ideologies by comparing them to literary genres. Just as literary genres use tropes that constrain our reading of a text, radical ideologies use tropes—as, for example, the Marxists’ use of “reactionary” or “bourgeois”—that refer to a much wider background dichotomy, on which they base their arguments to discredit those of their opponents or to reinforce those of their supporters. Using this approach, I show how the Marxist theorist and leading German politician Eduard Bernstein (1850–1932)—one of the founders of modern Social Democracy—made a step-by-step critique of the Social Democratic Party’s orthodox Marxist tropes and core narrative that thoroughly undermined their arguments. Bernstein, I further suggest, was a particularly good example of a political moderate because he did not altogether reject the claims of his radical Marxist opponents but rather accepted those parts of their reasoning that he considered valid. By thus opening the way for constructing an anti-radical Marxist narrative, Bernstein’s example shows how moderates can “steal a page” from the radicals’ playbook to create alternative narratives whose central opponents are the radicals themselves. I conclude by briefly discussing two contemporary thinkers—Norberto Bobbio and Karl Popper—who went further than Bernstein in the development of a fully fleshed anti-radical narrative. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Publics, Counterpublics, and the Promise of DemocracyMelanie Loehwing and Jeff MotterTheories of publics and counterpublics remain as contested as the issues, identities, and politics they serve. Across the disciplinary spectrum, scholars turn to publics and counterpublics to help elucidate problems of inclusion and exclusion, projects of social justice, and the waning promise of democratic politics. Such work often enters the scholarly conversation at the points of contestation famously introduced (...) by Jürgen Habermas and Nancy Fraser: publics or counterpublics? While Fraser's influence in rhetorical studies usefully prompts us to think about challenges to dominant discourse, the particular sense in which democracy undergirds projects about publics lingers as a question in need of exploration and clarification. Many take Fraser's intervention as a corrective to the politically insufficient Habermasian theory found in The Structural Transformation of the Public Sphere (1991). We argue, however, for a return to the original point of theoretical contention in an effort to specify the different normative commitments of the two perspectives and reevaluate the role each envisions for rhetoric as a potentially democratic praxis.Many critics concur with Fraser in describing the normative commitments of the Habermasian theory of the public sphere as idealized or exclusionary, and as such, "the problem is not only that Habermas idealizes the bourgeois public sphere but also that he fails to examine other, nonliberal, [End Page 220] nonbourgeois, competing public spheres. Or rather, it is precisely because he fails to examine these other public spheres that he ends up idealizing the bourgeois public sphere" (Fraser 1997, 74). However, this position relies on a reading of Habermas that focuses on the particular historical examples he investigates, rather than the democratic potential he extends from such historical practices, however deficient critics may judge them to be. Nevertheless, the intervention initiated by Fraser and elaborated by rhetorical scholars compels us to consider in what ways advancing a normative justification of democracy grounded in specific historical practices asks markedly different questions than pursuing a realist project of scrutinizing "actually existing" political formations.Further, the role of rhetoric in rejuvenated democratic politics stands as an important component of public and counterpublic sphere scholarship, though little work beyond that of Robert Asen and Daniel Brouwer has been done to articulate the senses of rhetoric embraced by the two perspectives, or their compatibility with contemporary understandings of rhetoric as social praxis that constitutes the communities, ideologies, and citizenship of those it serves (Asen 2003; Asen and Brouwer 2003; Asen 2004; Brouwer 2006). It is our contention that while Fraser's vein of counterpublic scholarship asks how existing and future publics can be treated democratically, Habermasian public sphere theory inquires into the means by which publics create democracy, and this essay represents a first attempt at delineating the implications of adopting one perspective over the other.To do so, we begin by discussing Habermas's initial assessment of the shifts in political culture that lead to the reconstitution of publicity and authority in the bourgeois public sphere, as well as Fraser's critique of the Habermasian vision of the public sphere and the subsequent development of counterpublic scholarship. A comparison between the two allows us to consider what kind of function each imagines rhetoric to serve in the creation and maintenance of democratic culture. Moreover, the juxtaposition of these two theoretical perspectives prompts us to specify precisely what we refer to when we speak of rhetorical democracy and its relationship to public spheres, and we offer in the final section a preliminary discussion of how the specific problematic of publics and counterpublics sheds light on the broadly relevant theme of the intersections between democratic politics and rhetorical culture.Before proceeding, however, we want to note the long and troubled relationship scholars of rhetoric have had with Habermas's work. Given his sociological training and identifications with social scientific [End Page 221] disciplines, as well as his stated goal of extending the Enlightenment project (Habermas 1990), it should not come as much of a surprise that many rhetoricians find little reason to comb his vast writings for resources (though for notable exceptions to this tendency, see Goodnight 1992; Farrell 1993; Goodnight and Hingstman 1997; Hauser 1999... (shrink)

Starting from the idea that democracy always binds together a practice of domination and a project of liberation, Tronti formulates the conditions for a critique of democracy that would permit a rebirth of political thought in the current conjuncture. Bringing the heterodox Marxist traditions of ‘workerism’ and the ‘autonomy of the political’ together with the feminist thinking of difference, Tronti underscores the identitarian tendencies of democracy and the difficulties of combining democracy with a genuine notion of (...) freedom. For Tronti, democracy is increasingly synonymous with the pervasiveness of capitalism understood as ‘bourgeois society’, and the victory of ‘real democracy’ is the sociological victory of the bourgeoisie. The homo oeconomicus and the homo democraticus are fused into the dominant figure of democracy, the ‘mass bourgeois’. Against the depoliticizing consequences of ‘democratic Empire’, Tronti proposes a profound rethinking of our notion of politics, one which should not shy from reconsidering the elitist critiques of democracy. (shrink)

Since its early days, the labor movement has considered itself to be surrounded by a hostile bourgeois public and sought to counter this with a party press. As a result of the Cold War, Western social democratic parties abandoned in part their traditional beliefs about demarcation. Nevertheless, with the International Federation of the Socialist and Democratic Press, an organization emerged from 1951 to 1982 that manifested separation from the bourgeois public sphere. Drawing on an analytical framework derived from (...) counterpublic theory, this article analyzes ideas and practices developed by members of the organization linked to the Socialist International. The analysis of archival sources reveals that social democratic journalists and publishers remained wedded to the idea of a socialist press countering a hostile public sphere. However, the ideas and practices were mostly limited to strategies aimed at adapting to the existing media structures and only later included media policy approaches. (shrink)

In this essay we explain some of the problems of the Venezuelan criminal justice sub-system and, in general, the criminal law enforcement. That is to say, that which is expressed in the persecutory actions of the investigating authorities and the criminal courts, after having established in Venezuela a Carl Schmitt concept of Dual State with the purpose of eliminating “bourgeois” democracy and implanting the model of so-called Socialism of the XXI Century. In this sense, it is a question (...) of identifying the flagrant persecution and violation of human rights of those who do not have the capacity to resist the attacks emanating from the State in the abusive use of coercion and legal violence. With the Dual State want to impose an utopia by force, which leads to dystopia, due to the division and polarization of society with the dichotomous politics of friend-enemy, In a process of etiquette and "demonization" of the enemy. (shrink)

In this paper, I present a new account of Richard Rorty’s interpretation of Michel Foucault, which demonstrates that in the course of his career, Rorty presented several diverse (often mutually exclusive) criticisms of Foucault’s political thought. These give different interpretations of what he took to be the flaws of that thought, but also provide different explanations as to the sources of these flaws. I argue that Rorty’s specific criticisms can be divided into two overall groups. Sometimes he saw Foucault’s rejection (...) of bourgeois democracies and bourgeois utopias as a specific case of his general critique regarding the structures of social life as inherently oppressive. At other times he seemed to attribute to Foucault a view that—while not all forms of social life are inherently oppressive—bourgeois democracies certainly are, in a very specific and radical way. In conclusion I show that Rorty’s interpretation of Foucault should be understood in the context of his approach toward the ‘American Cultural Left.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...) make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...) make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

After World War II, Japanese intellectuals believed that world history was moving inexorably toward bourgeois democracy and then socialism. But who would be the agents--the active "subjects"--of that revolution in Japan? Intensely debated at the time, this question of active subjectivity influenced popular ideas about nationalism and social change that still affect Japanese political culture today. In a major contribution to modern Japanese intellectual history, J. Victor Koschmann analyzes the debate over subjectivity. He traces the arguments of intellectuals (...) from various disciplines and political viewpoints, and finds that despite their stress on individual autonomy, they all came to define subjectivity in terms of deterministic historical structures, thus ultimately deferring the possibility of radical change in Japan. Establishing a basis for historical dialogue about democratic revolution, this book will interest anyone concerned with issues of nationalism, postcolonialism, and the formation of identities. (shrink)

This second volume of Marcuse's collected papers includes unpublished manuscripts from the late 1960s and early 1970s, such as Beyond One-Dimensional Man , Cultural Revolution and The Historical Fate of Bourgeois Democracy , as well as a rich collection of letters. It shows Marcuse at his most radical, focusing on his critical theory of contemporary society, his analyses of technology, capitalism, the fate of the individual, and prospects for social change in contemporary society.

The Nazis' use and misuse of Nietzsche is well known. The Superman, the "will to power," Nietzsche's equation of bourgeois democracy and decadence, and his denigration of reason were staples of Nazi propaganda. Communists also used and misused Nietzsche, but that fact is largely unknown because Soviet propagandists invoked reason and labeled Nietzsche the "philosopher of fascism," even while covertly appropriating his ideas. In this pioneering book, Bernice Glatzer Rosenthal excavates the trail of long-obscured Nietzschean ideas that took (...) root in late Imperial Russia, intertwining with other elements in the culture to become a vital ingredient of Bolshevism and Stalinism. Nietzsche made a difference. He furnished intellectual ammunition for a prolonged conflict about culture, society, and politics that began around the turn of the century. His first Russian admirers were poets, philosophers, and political activists. They responded to the changes transforming their society by espousing new values and seeking a new faith by which to live and work. This response resulted in new aesthetic and political amalgams, such as Symbolism, Futurism, Nietzschean Christianity, and Nietzschean Marxism. The ensuing debates between and among their partisans reverberated throughout the wider culture and therefore also into Bolshevism, becoming the subject of an uninterrupted polemic between Bolsheviks and non-Bolsheviks, and among Bolsheviks, that continued into the 1930s. In Stalin's time, unacknowledged Nietzschean ideas were used to mobilize the masses for the great tasks of the first Five-Year Plan and the Cultural Revolution, which was intended to eradicate "bourgeois" values and attitudes from Soviet life and to construct a distinctly Socialist culture. Nietzsche's belief that people need illusions to shield them from reality underlay Socialist Realism, the official Soviet aesthetic from 1934 on. In the aftermath of de-Stalinization, the government cast Nietzsche as the personification of "bourgeois" nihilism and "bourgeois" individualism. Soviet intellectuals wishing to reappropriate their lost cultural heritage discovered the Nietzsche-influenced intellectuals of late Imperial Russia and reopened discussion on the issues they had posed. More than an exercise in historical rediscovery, _New Myth, New World_ offers a new interpretation of modern Russian history. By uncovering the buried influence of Nietzschean ideas on Soviet culture and politics, Rosenthal opens new avenues for understanding Soviet ideology and its influence on the twentieth century. (shrink)

This second volume of Marcuse's collected papers includes unpublished manuscripts from the late 1960s and early 1970s, such as _Beyond One-Dimensional Man_, _Cultural Revolution_ and _The Historical Fate of Bourgeois Democracy_, as well as a rich collection of letters. It shows Marcuse at his most radical, focusing on his critical theory of contemporary society, his analyses of technology, capitalism, the fate of the individual, and prospects for social change in contemporary society.

This second volume of Marcuse's collected papers includes unpublished manuscripts from the late 1960s and early 1970s, such as _Beyond One-Dimensional Man_, _Cultural Revolution_ and _The Historical Fate of Bourgeois Democracy_, as well as a rich collection of letters. It shows Marcuse at his most radical, focusing on his critical theory of contemporary society, his analyses of technology, capitalism, the fate of the individual, and prospects for social change in contemporary society.

In July 1976, Althusser delivered a lecture in Spain on the topic of the dictatorship of the proletariat. At the moment that many Western European Communist parties sought formally or informally to distance themselves from the dictatorships of both West and East, Althusser proposed to examine the emergence of the concept of the proletarian dictatorship in a specificity. The debates of the mid-seventies, he argued, obscured or repressed the concept’s corollary: the dictatorship of the bourgeoisie, a notion that made visible (...) the forms of coercion and control characteristic of ‘bourgeois democracy’. To ignore the latter was to risk squandering the opportunities the conjuncture offered and suffer both political and theoretical regression. (shrink)

The Nazis' use and misuse of Nietzsche is well known. The Superman, the "will to power," Nietzsche's equation of bourgeois democracy and decadence, and his denigration of reason were staples of Nazi propaganda. Communists also used and misused Nietzsche, but that fact is largely unknown because Soviet propagandists invoked reason and labeled Nietzsche the "philosopher of fascism," even while covertly appropriating his ideas. In this pioneering book, Bernice Glatzer Rosenthal excavates the trail of long-obscured Nietzschean ideas that took (...) root in late Imperial Russia, intertwining with other elements in the culture to become a vital ingredient of Bolshevism and Stalinism. Nietzsche made a difference. He furnished intellectual ammunition for a prolonged conflict about culture, society, and politics that began around the turn of the century. His first Russian admirers were poets, philosophers, and political activists. They responded to the changes transforming their society by espousing new values and seeking a new faith by which to live and work. This response resulted in new aesthetic and political amalgams, such as Symbolism, Futurism, Nietzschean Christianity, and Nietzschean Marxism. The ensuing debates between and among their partisans reverberated throughout the wider culture and therefore also into Bolshevism, becoming the subject of an uninterrupted polemic between Bolsheviks and non-Bolsheviks, and among Bolsheviks, that continued into the 1930s. In Stalin's time, unacknowledged Nietzschean ideas were used to mobilize the masses for the great tasks of the first Five-Year Plan and the Cultural Revolution, which was intended to eradicate "bourgeois" values and attitudes from Soviet life and to construct a distinctly Socialist culture. Nietzsche's belief that people need illusions to shield them from reality underlay Socialist Realism, the official Soviet aesthetic from 1934 on. In the aftermath of de-Stalinization, the government cast Nietzsche as the personification of "bourgeois" nihilism and "bourgeois" individualism. Soviet intellectuals wishing to reappropriate their lost cultural heritage discovered the Nietzsche-influenced intellectuals of late Imperial Russia and reopened discussion on the issues they had posed. More than an exercise in historical rediscovery, _New Myth, New World_ offers a new interpretation of modern Russian history. By uncovering the buried influence of Nietzschean ideas on Soviet culture and politics, Rosenthal opens new avenues for understanding Soviet ideology and its influence on the twentieth century. (shrink)

Nowadays nothing is more discredited than freedom. In the past, people sometimes sold their freedom for money. Today people sell it even if in its place they can only look forward to war or death. How did things come to this pass? Because the freedoms provided by bourgeois democracies are mystifications. The rights or the socalled rights we all have in principle have real meaning only for a miniscule part of the population.

The concepts of social transformation, reform, and revolution are characterized. A typology of revolutions is given and revolutions of the appropriate type are compared with reforms. It is argued that reform and revolution are on a continuum and that there are social transformations that with equal propriety could be called ?a cluster of radical reforms? or ?a revolution?. What is sensibly at issue concerning the choice between reform or revolution is whether in bourgeois democracies it is more reasonable to (...) adopt the piecemeal reformist tactics of liberal reformers or whether a commitment to a revolutionary overthrow of the established order is justified. Arguments for both positions are examined and it is concluded that no general non?contextual answer can be given. (shrink)

The political public sphere is important for democracy, and it is changing – this is how the quintessence of Jürgen Habermas’s monumental study on The Structural Transformation of the Public Sphere (1989) could be summarized in simple words. In the fields of political sociology and social theory, history, but also research on social movements, cultural studies, and media and communication studies, his conception of the public sphere as a sphere mediating between the state and civil society has had a (...) decisive influence on the debate about the potential of collective reason for modern democracy. In this introduction we give a short overview of Habermas’s arguments on the rise and fall of the bourgeois public sphere, demonstrate the necessary link between the public sphere and democracy and, referring to the contributions to this special issue, sketch current transformations of the public sphere along three basic processes – digitalization, commodification, and globalization. (shrink)

The bourgeois public sphere and its critics -- Nurturing communicative action -- Media for deliberative democracy -- Mediated public spheres -- Deliberative qualities of news and discussion media -- Non-deliberative media discourse -- Counterpublics and the role of emotions.

Introduction. The roots of liberal-democratic theory -- Problems of interpretation -- Hobbe : the political obligation of the market. Philosophy and political theory -- Human nature and the state of nature -- Models of society -- Political obligation -- Penetration and limits of Hobbe's political theory -- The Levellers : franchise and freedom. The problem of franchise -- Types of franchise -- The record -- Theoretical implications -- Harrington : the opportunity state. Unexamined ambiguities -- The balance and the gentry (...) -- The bourgeois society -- The equal commonwealth and the equal agrarian -- The self-cancelling balance principle -- Harrington's stature --Locke : the political theory of appropriation. Interpretations -- The theory of property right -- Class differentials in natural rights and rationality -- The ambiguous state of nature -- The ambiguous civil society -- Unsettled problems reconsidered -- Possessive individualism and liberal democracy. The seventeenth-century foundations -- The twentieth-century dilemma -- Appendix : Social classes and franchise classes in England, circa 1648. (shrink)

Carl Schmitt, the author of such books as Political Theology and The Crisis of Parliamentary Democracy, was one of the leading political and legal theorists of the twentieth century. His critical discussions of liberal democratic ideals and institutions continue to arouse controversy, but even his opponents concede his uncanny sense for the basic problems of modern politics. Political Romanticism is a historical study that, like all of Schmitt's major works, offers a fundamental political critique. In it, he defends a (...) concept of political action based on notions of good and evil, justice and injustice, and attacks the political passivity entailed by the romanticization of experience. The book has three strands. The first is an attack on received notions of the origins of the Romantic Movement. Schmitt argues that this movement represents a secularization, subjectification, and privatization in which God is replaced by the emancipated, private individual of the bourgeois social order. The second is an assault on political romanticism that includes a broader attack on the new European bourgeoisie, which Schmitt characterizes as the historical bearer of the movement. The third strand is a defense of political conservatism and a refutation of the view that political romanticism is intrinsically linked with romanticism. Here Schmitt argues that the political romantic is tied not to positions but to aesthetics, and can therefore as easily become a Danton as a Frederick the Great. Guy Oakes's introduction places the book in historical context and also suggests its continuing relevance through his discussion of the latest outcropping of political romanticism in the late 1960s, intriguingly brought out in his example of Norman Mailer as a political romantic. (shrink)

Back to Kant is a study of the rise of the neo-Kantian movement from its origins in the 1850s to its academic preeminence in the years before World War I. Thomas E. Willey describes early neo-Kantianism as a reaction of scientists and scientific philosophers against both the then discredited Hegelianism and Naturphilosophie of the preceding era and the simplistic and deterministic scientific materialism of the 1850s. "Back to Kant" was the slogan of a revolt against theories of knowledge which seemed (...) inadequate to recent discoveries in thermodynamics, physiology, optics and other fields. Because Immanuel Kant was the philosopher who placed Newtonian physics on new epistemological foundations and demonstrated the possibility of universal scientific truth, he was the right thinker for a generation of scholars living through a new scientific revolution in Germany and dissatisfied with both speculative idealism and crude materialism. The second wave of neo-Kantians continued to discuss problems of scientific epistemology in the 1880s and after, but they also showed a keen interest in political and social matters, attempting to bridge liberalism and socialism with Kantian ethics. Neo-Kantians had to face questions of socialism, the place of the working class in society, the phenomenon of social welfare, the challenge of political democracy. Willey uses the biographical approach to develop the relationship between unity and diversity in the movement, and to underscore the importance of personality in history. While individual dissertations and monographs have been written on various thinkers and schools within neo-Kantianism, this is the first wide-ranging history of the entire phenomenon. Willey observes that the movement did succeed in reasserting ethical values and in separating humanistic studies from the methods of physical science. He also discusses the possibility that a wider acceptance of neo-Kantian ideals among bourgeois intellectuals and socialist leaders might have reduced class antagonisms and sustained a stronger feeling of community between Germany and the West. (shrink)

Introduction: education, philosophy and politics -- Writing the self: Wittgenstein, confession and pedagogy -- Nietzsche, nihilism and the critique of modernity: post-Nietzschean philosophy of education -- Heidegger, education and modernity -- Truth-telling as an educational practice of the self: Foucault and the ethics of subjectivity -- Neoliberal governmentality: Foucault on the birth of biopolitics -- Lyotard, nihilism and education -- Gilles Deleuze's 'societies of control': from disciplinary pedagogy to perpetual training -- Geophilosophy, education and the pedagogy of the concept - (...) Humanism, Derrida and the new humanities -- Politics and deconstruction: Derrida, neoliberalism and democracy -- Neopragmatism, ethnocentrism and the politics of the ethnos: Rorty's 'postmodernist bourgeois liberalism' -- Achieving America: postmodernism and Rorty's critique of the cultural left -- Deranging the investigations: Cavell on the philosophy of the child -- White philosophy in/of America. (shrink)

In his defenses of empire, Alexis de Tocqueville emphasized the need to achieve grandeur for France, and his writings on Algeria have shaped our understanding of his political career. In pursuing empire abroad as a remedy for weak politics at home, scholars maintain that Tocqueville abandoned the participatory politics of Democracy in America. This essay argues, however, that the focus on Tocqueville’s international turn has obscured his interest in the greatness of domestic party politics. It demonstrates that Tocqueville championed (...) a version of grandeur tied to the latent energies of the lower classes and distinct from the Bonapartism and aristocratic nostalgia that characterized his thoughts on empire. This version of grandeur was a political reclamation of disagreement and debate that supported great party opposition to counter the malaise of bourgeois rule. The essay concludes by comparing Tocqueville’s attitude toward foreign others, whose freedoms had to be sacrificed to the cause of French nationalism, with his description of the lower classes within his own nation, whose inclusion in the franchise could foster great politics. This comparison enables us to draw modest lessons for interpreting political grandeur in the present day. (shrink)

Jacques Rancire's theory of the sensible is an attempt to frame and secure the relationship between politics and aesthetics, art and design on the same surface. Accordingly, the reconstruction of the sensible appearances of the world of the built environment, of the dcor of the sensible, as Rancire describes it is more than the negation of bourgeois appearances in the name of either a radical aesthetics or a radical politics; it is, rather, the common invention of sensible forms and (...) material structures for a life to come. In this respect Rancire's theory has much in common with the historic avant-garde. Following the constructivism of Rodchenko and El Lissitsky, representation here is not just the symbolic life of pictures, but the very materiality of things and their relations. Yet Rancire has little time for the active politicization of art, insofar this destroys, he asserts, the potential democracy of art. This leaves his constructivism in a weakened critical position. This essay explores the hiatuses and limitations of Rancire's cultural theory. (shrink)

The object of this thesis is the examination of the concept of political representation in the corpus of Hobbes, Locke, Hegel and Marx. Through the method of textualreconstruction I foreground the concept’s salience in their writings. Political representation constitutes a unitary political society as the basis of representative government by entrusting to a separate part of the political community the exercise of the legislative and executive functions on behalf of the political society. Hobbes’s author-actor model grounded the concept of political (...) representation by introducing the act of the transfer of will to a representative by authorisation. Thereby he established the problematic relationship of permanently alienated, absolute, representative power acting in the name of the political community. Locke conceptualised political representation in a way that restored to political society the power to determine the legitimacy of its representative government in case the latter transgressed the norm of acting for the public good of society. Hegel, in turn, assigned to political representation the crucial function of integrating civil society into the power system of the state thus securing the identity of subjective and objective freedom in the rational state, though political representation bestows only formal freedom to civil society’s involvement in the affairs of the state. For Marx, the relationship of political representation makes the representative polity appear as a democratically governed political society within which individual freedom and the public good are secured. This is vitiated by the rift between political society/state and civil society. Marx censures liberal and republican theory for ignoring the primacy of civil/bourgeois society over the representative political society. As a consequence,he argues,the representative polity is not a form of self-government but other-determined and neither freedom nor the public good are realised. Instead, under the regime of private property, money assumes the authorial function of organising social exchange and human relations, shaping the representative polity after its own image, and thus it renders democracy as popular sovereignty a lie. (shrink)

ABSTRACTThe ten essays in this symposium offer a rich and varied set of challenges to the market-democratic research program. Rather than replying to each critic in turn, I respond only to the main lines of critical challenge raised in this collection: that my account of thick economic liberty is too vague, that economic liberties are not basic, that market democracy gives too little attention to socialist possibilities, that market democracy can accommodate only an impoverished conception of fair equality (...) of opportunity, and, most notably, that market democracy is grounded upon a tendentious or “bourgeois” conception of the person. To meet these criticisms, I refine a central claim of market democracy: that the right to private ownership of productive property is a basic right. In response to the worry that market democracy allows for class domination, I revise market democracy on the issue of bequests. After replying to the critics I extend my challenge to social democracy, presenting an historical argument against liberal democratic socialism. (shrink)

The author starts from the thesis that there is no such thing as a "natural" or "apolitical" economy. The economy is always already political, as it is the economy’s material core of power, control, and its main mechanisms, i.e. exploitation and oppression. It is no less so in the era of neoliberalism, a time in which we witness the divorce between capitalism and democracy. In order to lay the foundations of a different economy, one that is not based on (...) wage labor and the exploitation of human life and nature based on their auto-alienation, but rather on action in accordance with their resources, we need – according the author – to rethink the concept of the state in a non-philosophical and post-capitalist fashion, structurally different from the modern bourgeois state. If the structure originating in the bourgeois state, as conceived by modern humanism, is preserved, it will mean that the determination in the last instance is still the same. In order to arrive at a determination in the last instance of a non-exploitative, non-wage-labor-based social order where the determination is affected by the real, we must first arrive at the generic core of the notion of the modern state. As soon as we determine the generic term of "the state," we can radicalize it by letting it be determined by the effects of the real. The generic notion, isolated from the chôra of the transcendental material that is offered by modern philosophies originating in the Enlightenment, should be used as the minimal transcendental description for the determining effect of the real. (shrink)

ArgumentUp until the French Revolution, European mathematics was an “aristocratic” activity, the intellectual pastime of a small circle of men who were convinced they were collaborating on a universal undertaking free of all space-time constraints, as they believed they were ideally in dialogue with the Greek founders and with mathematicians of all languages and eras. The nineteenth century saw its transformation into a “democratic” but also “patriotic” activity: the dominant tendency, as shown by recent research to analyze this transformation, seems (...) to be the national one, albeit accompanied by numerous analogies from the point of view of the processes of national evolution, possibly staggered in time. Nevertheless, the very homogeneity of the individual national processes leads us to view mathematics in the context of the national-universal tension that the spread of liberal democracy was subjected to over the past two centuries. In order to analyze national-universal tension in mathematics, viewed as an intellectual undertaking and a profession of the new bourgeois society, it is necessary to investigate whether the network of international communication survived the political, social, and cultural upheavals of the French Revolution and the European wars waged in the early nineteenth century, whether national passions have transformed this network, and if so, in what way. Luigi Cremona's international correspondence indicates that relationships among individuals have been restructured by the force of national membership, but that the universal nature of mathematics has actually been boosted by a vision shared by mathematicians from all countries concerning the role of their discipline in democratic and liberal society as the basis of scientific culture and technological innovation, as well as a basic component of public education. (shrink)

In September 1986, two months before delivering the fiery speeches that ignited the student democracy movement at campuses across China, and four months before his expulsion from the Chinese Communist Party for advocating "bourgeois liberalization," Fang Lizhi was asked during an interview about his views of "political restructuring." Fang responded, "I must start from cosmology in answering this question.".

[T]he modern [conceptions of] freedom, independence, human rights, democracy, and so forth, which were suited to the era of Western industrial capitalism, could not undergo a truly in-depth investigation after the May Fourth Movement [of 1919], nor were they ever subjected to a Marxist, indepth analysis and investigation. Instead, during the tide of "national salvation and revolution," they were simplistically rejected as the merely worrisome garbage of the bourgeois class. Today, while inheriting and developing the tradition of the (...) May Fourth Movement, besides reemphasizing these ideas, we ought to analyze them further, investigate them carefully, and construct new theories about them. This should be the case with regard to all Chinese traditions, and we should not allow ourselves to remain bogged down in the emotionalism of the May Fourth period, or the abstract negation characterizing the post-May Fourth revolutionary period. (shrink)

Critics, then, who label theories such as objectivism or deconstructionism as “authoritarian” or “subversive” are committing a fallacy of overspecificity. To call Hirsch’s theory authoritarian is to assume that such a theory lends itself to one and only one kind of political use and that that use can be determined a priori. To refute such an assumption, one need only stand back from the present in order to recall that today’s authoritarian ideology is often yesterday’s progressive one, and vice versa. (...) Indeed, there’s considerable historical irony in the fact that objectivism has now acquired the status of a right-wing idea, while Nietzsche and Heidegger have emerged as heroes of literary leftism. As recently as a few decades ago, these alignments were different. George Orwell, for instance, thought that the tendency to deny the possibility of objective truth reflected a totalitarian mentality. “Totalitarianism,” he wrote, “in the long run probably demands a disbelief in the existence of objective truth.” He added that “the friends of totalitarianism in this country tend to argue that since absolute truth is not attainable, a big lie is no worse than a little lie. It is pointed out that all historical records are biased and inaccurate, or, on the other hand, that modern physics has proved that what seems to us the real world is an illusion, so that to believe in the evidence of the senses is simply vulgar philistinism.”10It’s not that it hadn’t occurred to Orwell that the notion of objective truth could easily be used to justify the actions of tyrants and oppressors. But Orwell’s experience of Fascist and Communist falsification of history showed how the denial of the possibility of objectivity could also justify oppressive actions, perhaps in a more disarming way. For various historical reasons, Orwell’s insight is easily lost today. His is one of those Enlightenment concepts of truth which have been compromised in usage. As the Enlightenment has come to be associated not with progress, democracy, and equality but with the ideological exploitation of those concepts in the interests of social control, a great moral and political transvaluation of the epistemological vocabulary has occurred. Enlightenment thinking is frequently associated with the bourgeois complacency or the menacing technology of Western democracies or is identified with the totalitarian regimentation of the Soviet Union. Thus the concepts of objective truth, nature, essence, identity, and teleology have come to be viewed as conservative or reactionary ideas, as if these ideas had never operated, and never could operate, in quite other ways.11 10. George orwell, “The Prevention of Literature,” The Collected Essays, Journalism, and Letters of George Orwell, ed. Sonia Orwell and Ian Angus, 4 vols. , 4: 63-64.11. As Frederic Jameson has noted, “it is certainly the case that a belief in the natural is ideological and that much of bourgeois art has worked to perpetuate such a belief…. Yet in different historical circumstances the idea of nature was once a subversive concept with a genuinely revolutionary function, and only the analysis of the concrete historical and cultural conjuncture can tell us whether, in the post-natural world of late capitalism, the categories of nature may not have acquired such a critical charge again”. (shrink)

A sympathetic reviewer has noted that the best a critic of Rorty can do is to compare his views invidiously to alternative views. Taking this advice to heart, I contrast Rorty's social and political views to Dewey's, and then to an alternative account which I elaborate. My standards of comparison are two liberal ideals than which, according to Rorty, none others are higher. These are: amelioration of suffering, and leaving people alone to pursue their own visions of personal perfection. ;In (...) Chapter One, I point out that there are significant differences between Rorty and his alleged progenitor, Dewey, notably when it comes to their respective conceptions of how to harmonize personal freedom with public responsibility. Unlike Dewey, Rorty advocates abandoning the attempt to fuse the public realm of altruism and the private realm of sublimity by means of one all-encompassing theory. ;In Chapter Two, I argue that the existing liberal democracies Rorty is concerned to defend bear little resemblance to his democratic utopia, in which "the quest for autonomy is impeded as little as possible by social institutions." I introduce an alternative vocabulary, according to which political institutions, broadly conceived, traverse nearly the entire length and breadth of the private sphere in the north Atlantic democracies. ;In Chapter Three, I argue that existing liberal democracies fare little better with reference to Rorty's public ideal of ameliorating suffering than they did with reference to his private ideal of making room for self making. Then I suggest an alternative setup which I believe to be more promising for purposes of ameliorating suffering. ;In the final chapter, I argue that Rorty's private role as ironist and his public role as self-described apologist for bourgeois liberal democracy are not so much incommensurable as they are incompatible. The better he fulfills one role, I argue, the more seriously he compromises the other. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 2, Page 184-208, February 2022. Being critical does not come easy, not even within Critical Theory. In this article I respond to criticism of my book from 2019, Capitalism, Alienation and Critique, arguing that contemporary Critical Theory has something to learn from the founding fathers. Firstly, for Adorno immanent critique has metaphysical implications beyond Honneth’s critique of bourgeois society as inconsistent in terms of its professed ideals. Secondly, immanent critique is not the (...) same as ideology critique, and when it comes to Horkheimer and Habermas, they conducted the latter rather than the former. Thirdly, even though today nature must be our concern, answers are to be found in politics and metaphysics rather than science. Finally, critique of neoliberalism should be conducted as critique of political economy, that is, ideology critique, rather than sociological descriptions of the empirical details of globalized capitalism. Denaturalizing economics is a condition for economic democracy. (shrink)