An introduction to and critique of the latest trends in critical theory.

During the Gulf war, CNN correspondent Peter Arnett distinguished himself with its courageous reporting in Iraq while under fire by the U.S.-led coalition which dropped more bombs on Iraq than were unleashed in World War II. Reporting live from Baghdad throughout the war, Arnett provided vivid daily accounts of life in Iraq during one of the most sustained air attacks in history. From his live telephone reporting of the early hours of the U.S. attack on Iraq in January 1991 through (...) his live satellite reports of the effects of the daily bombing of Iraq, Arnett distinguished himself through his attempts to cut through the lies and disinformation of both sides and to provide accurate reporting on the effects of the U.S.-led coalition assault against Iraq. (shrink)

John Hartley opens his short history of cultural studies by evoking a sense of the contested nature of the field in the contemporary moment and the intense debates about its objects, scope, methods, and goals: “Even within intellectual communities and academic institutions, there is little agreement about what counts as cultural studies, either as a critical practice or an institutional apparatus. On the contrary, the field is riven by fundamental disagreements about what cultural studies is for, in whose interests it (...) is done, what theories, methods and objects of study are proper to it, and where to set its limits” (1). (shrink)

Massive geopolitical shifts and dramatic developments in computerization and biotechnology are heralding the transformation from the modern to the postmodern age. We are confronted with altered modes of work, communication, and entertainment; new postindustrial and political networks; novel approaches to warfare; genetic engineering; and even cloning. This compelling book explores the challenges to theory, politics, and human identity that we face on the threshold of the third millennium. It follows on the success of Best and Kellner s two previous (...) books: Postmodern Theory, acclaimed as the best critical introduction to the field, and The Postmodern Turn, which provides a powerful mapping of postmodern developments in the arts, politics, science, and theory. In The Postmodern Adventure, Best and Kellner analyze a broad array of literary, cultural, and political phenomena--from fiction, film, science, and the Internet, to globalization and the rise of a transnational image culture. They use the best of modern and postmodern perspectives to illuminate contemporary life and to strive for a just and viable future. Gold Medal Winner in Philosophy--ForeWord Magazine's Book of the Year Awards. (shrink)

A collection of seminal essays, many appearing in English for the first time, which provides an excellent overview of the critical theory developed by the Frankfurt School.

In theorizing the postmodern, one inevitably encounters the postmodern assault on theory, such as Lyotard's and Foucault's attack on modern theory for its alleged totalizing and essentializing character. The argument is ironic, of course, since it falsely homogenizes a heterogeneous "modern tradition" and since postmodern theorists like Foucault and Baudrillard are often as totalizing as any modern thinker (Kellner 1989 and Best 1995). But where Lyotard seeks justification of theory within localized language games, arguing that no universal criteria are (...) possible to ground objective truths or universal values, Foucault steadfastly resists any efforts, local or otherwise, to validate normative concepts and theoretical perspectives. For Foucault, justification ensnares one in metaphysical illusions like "truth" and the only concern of the philosopher-critic is to dismantle old ways of thinking, to attack existing traditions and institutions, and to open up new horizons of experience for greater individual freedom. What matters, then, is results, and if actions bring greater freedom, the theoretical perspectives informing them are "justified." From this perspective, theoretical discourse is seen not so much as "correct" or true," but as "efficacious," as producing positive effects. (shrink)

This book provides a critical overview of the entirety of Marcuse's work and discusses his enduring importance. Kellner had extensive interviews with Marcuse and provides hitherto unknown information about his road to Marxism, his relations with Heidegger and Existentialism, his involvement with the Frankfurt School, and his reasons for appropriating Freud in the 1950s. In addition Kellner provides a novel interpretation of the genesis and structure of Marcuse's theory of one-dimensional society, of the development of his political theory, (...) and of the role of aesthetics in his critical theory. (shrink)

Kellner writes, "As we move into the 1990s critical theory might help produce theoretical and political perspectives which could be part of a Left Turn that could reanimate the political hopes of the 1960s, while helping overcome and reverse the losses and regression of the 1980s.".

John Hartley opens his short history of cultural studies by evoking a sense of the contested nature of the field in the contemporary moment and the intense debates about its objects, scope, methods, and goals: “Even within intellectual communities and academic institutions, there is little agreement about what counts as cultural studies, either as a critical practice or an institutional apparatus. On the contrary, the field is riven by fundamental disagreements about what cultural studies is for, in whose interests it (...) is done, what theories, methods and objects of study are proper to it, and where to set its limits” (1). (shrink)

Radio, television, film, and the other products of media culture provide materials out of which we forge our very identities; our sense of selfhood; our notion of what it means to be male or female; our sense of class, of ethnicity and race, of nationality, of sexuality; and of "us" and "them." Media images help shape our view of the world and our deepest values: what we consider good or bad, positive or negative, moral or evil. Media stories provide the (...) symbols, myths, and resources through which we constitute a common culture and through the appropriation of which we insert ourselves into this culture. Media spectacles demonstrate who has power and who is powerless, who is allowed to exercise force and violence, and who is not. They dramatize and legitimate the power of the forces that be and show the powerless that they must stay in their places or be oppressed. (shrink)

It is surely not difficult to see that our time is a time of birth and transition to a new period. The spirit has broken with what was hitherto the world of its existence and imagination and is about to submerge all this in the past; it is at work giving itself a new form. To be sure, the spirit is never at rest but always engaged in ever progressing motion.... the spirit that educates itself matures slowly and quietly toward (...) the new form, dissolving one particle of the edifice of its previous world after the other,.... This gradual crumbling... is interrupted by the break of day that, like lightning, all at once reveals the edifice of the new world. Hegel, The Phenomenology of Spirit, 1807.. (shrink)

Ice Cube "What's a brother gotta do to get a message through to the Red, White, and Blue?" Ice-T Rap music has emerged as one of the most distinctive and controversial music genres of the past decade. A significant part of hip hop culture, [1] rap articulates the experiences and conditions of African-Americans living in a spectrum of marginalized situations ranging from racial stereotyping and stigmatizing to struggle for survival in violent ghetto conditions. In this cultural context, rap provides a (...) voice to the voiceless, a form of protest to the oppressed, and a mode of alternative cultural style and identity to the marginalized. Rap is thus not only music to dance and party to, but a potent form of cultural identity. It has become a powerful vehicle for cultural political expression, serving as the "CNN of black people", or upping the high-tech ante, as their "satellite communication system". It is an informational medium to tune into, one that describes the rage of African-Americans facing growing oppression, declining opportunities for advancement, changing moods on the streets, and everyday life as a matter of sheer survival. In turn, it has become a cultural virus, circulating its images, sounds, and attitude throughout the culture and body politic. (shrink)

As we move into a new millennium fraught with terror and danger, a global postmodern cosmopolis is unfolding in the midst of rapid evolutionary and social changes co-constructed by science, technology, and the restructuring of global capital. We are quickly morphing into a new biological and social existence that is ever-more mediated and shaped by computers, mass media, and biotechnology, all driven by the logic of capital and a powerful emergent technoscience. In this global context, science is no longer merely (...) an interpretation of the natural and social worlds, rather it has become an active force in changing them and the very nature of life. In an era where life can be created and redesigned in a petri dish, and genetic codes can be edited like a digital text, the distinction between “natural” and “artificial” has become greatly complexified. The new techniques of manipulation call into question existing definitions of life and death, demand a rethinking of fundamental notions of ethics and moral value, and pose unique challenges for democracy. (shrink)

In the realm of philosophy and other theoretical discourses, there are many different paths to the turn from the modern to the postmodern, representing a complex genealogy of diverse and often divergent trails through different disciplines and cultural terrains. One pathway moves through an irrationalist tradition from romanticism to existentialism to French postmodernism via the figures of Nietzsche, Heidegger, and Bataille into the proliferation of French postmodern theory. This is the route charted by Jurgen Habermas in The Philosophical Discourse of (...) Modernity (1987), a trajectory that ultimately leads for him to the dead end of irrationalism and the catastrophe of fascism. (shrink)

"But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, fancy to reality, the appearance to the essence, ... illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness,".

The postmodern turn which has so marked social and cultural theory also involves conflicts between modern and postmodern politics. In this essay, we articulate the differences between modern and postmodern politics and argue against one-sided positions which dogmatically reject one tradition or the other in favor of partisanship for either the modern or the postmodern. Arguing for a politics of alliance and solidarity, we claim that this project is best served by drawing on the most progressive elements of both the (...) modern and postmodern traditions. Developing a new politics involves overcoming the limitations of certain versions of modern politics and postmodern identity politics in order to develop a politics of alliance and solidarity equal to the challenges of the coming millennium. (shrink)

The past several decades have exhibited vertiginous change, surprising novelties, and upheaval in an era marked by technological revolution and the global restructuring of capitalism.1 This "great transformation," comparable in scope to the shifts produced by the Industrial Revolution, is moving the world into a postindustrial, infotainment, and biotech mode of global capitalism, organized around new information, communications, and genetic technologies. The scientific-technological-economic revolutions of the era and spread of the global economy are providing new financial opportunities, openings for political (...) amelioration, and a wealth of ingenious products and technologies that might improve the human condition. Yet these developments are accompanied by explosive conflict, crisis, and even catastrophe. The post-September 11 world reveals the contradictory dialectic of globalization in which the wide-reaching circulation of people, technology, media, and ideologies can have destructive as well as beneficial consequences. Hence, the turbulent transmutations of the contemporary situation are highly contradictory and ambiguous, with both hopeful and threatening features being played out on political, economic, social, and cultural fronts. (shrink)

The Frankfurt School had a highly ambivalent relation to Judaism. On one hand, they were part of that Enlightenment tradition that opposed authority, tradition, and all institutions of the past -- including religion. They were also, for the most part, secular Jews who did not support any organized religion, or practice religious or cultural Judaism. In this sense, they were in the tradition of Heine, Marx, and Freud for whom Judaism was neither a constitutive feature of their life or work, (...) nor a significant aspect of their self-image and identity. (shrink)

This chapter contains sections titled: Modern Theory and Kierkegaard's Assault on Reason Nietzsche and the Postmodern Nietzsche's Progeny and the Postmodern Turn: From Heidegger through Derrida Foucault's Critique of Rationality and Modernity Lyotard's “Postmodern Condition”: Polemics and Aporia Richard Rorty, the Attack on Theory, and Renunciation of Radical Politics For Theory and Politics.

In this article, I argue that concern with the public sphere and the necessary conditions for a genuine democracy can be seen as a central theme of Jurgen Habermas's work that deserves respect and critical scrutiny in the contemporary moment, when throughout the world liberal democracies are in crisis. My study intends to point to the continuing importance of Habermas' problematic of the public sphere and its relevance for debates over democratic politics and social and cultural life in the present (...) age, in an era in which the Occupy Movements, Black Lives Matter, #MeToo, the Trump Resistance Movement, and Ukraine and Palestine Solidarity groups use social media to struggle against multiple forms of oppression. At stake is delineating a concept of the public sphere which facilitates maximum public participation and debate over the key issues of the contemporary era and which consequently promotes the cause of radical democracy and social transformation. (shrink)

We are in the midst of one of the most dramatic technological revolutions in history that is changing everything from the ways that we work, to the ways that we communicate with each other, to how we spend our leisure time. The technological revolution centers on information technology, is often interpreted as the beginnings of a knowledge society, and therefore ascribes education a central role in every aspect of life. This Great Transformation poses tremendous challenges to education to rethink its (...) basic tenets, to deploy the new technologies in creative and productive ways, and to restructure schooling in the light of the metamorphosis we are now undergoing. (shrink)

While T.W. Adorno is a lively figure on the contemporary cultural scene, his thought in many ways cuts across the grain of emerging postmodern orthodoxies. Although Adorno anticipated many post-structuralist critiques of the subject, philosophy, and intellectual practice, his work clashes with the postmodern celebration of media culture, attacks on modernism as obsolete and elitist, and the more affirmative attitude toward contemporary culture and society found in many, but not all, postmodern circles. Adorno is thus a highly contradictory figure in (...) the present constellation, anticipating some advanced tendencies of contemporary thought, while standing firming against other regnant intellectual attitudes and positions. (shrink)

The February 2004 release of Mel Gibson’s The Passion of the Christ is a major cultural event. Receiving a tremendous amount of advance publicity due to claims of its anti-Semitism and adulatory responses by conservative Christians who were the first to see it, the film achieved more buzz before its release than any recent film in our memory.1 Gibson himself helped orchestrate the publicity with selective showings of The Passion and strategic appearances on TV shows where he came off as (...) something of a Hollywood eccentric, albeit one who was only too happy to admit to his past sins and to claim that he had achieved “salvation” through his adherence to Christianity. His film, he insisted, would be testament to the truth of Christ and how Christ died so that sinners like Gibson could be saved and enjoy eternal life. (shrink)

The translation of Pierre Klossowski's Nietzsche and the Vicious Circle finally provides an English-speaking audience with access to one of the most influential texts in the French Nietzsche tradition. First published in France in 1969, Klossowski's text consummated over three decades of intense work and discussion on Nietzsche's most enigmatic and original ideas. Working with Bataille and the famous College de Sociologie, Klossowski published a series of important studies of Nietzsche culminating in Nietzsche and the Vicious Circle which Foucault described (...) in a letter to Klossowski as "the greatest book of philosophy I have read" in addition to Nietzsche himself. Deeply influencing Deleuze, Lyotard, and other major Nietzscheans, Klossowski's work remains a seminal text of the contemporary French reading of Nietzsche. (shrink)

Moreover, presidential politics -- on the level of campaigns and governing -- have also exhibited a growing politics of image and spectacle. In our media-saturated society, politicians become celebrities who fine-tune their image through daily photo ops, spin out their message of the day and, like celebrities, employ image management firms to make sure their performance is playing well with the public.

There is nothing I want more than to become enlightened about the whole highly complicated system of antagonisms that constitute the 'modern world' (Nietzsche).

Sergi Eisenstein's Potemkin provides a powerful example of how a film can present a revolutionary and socialist political perspective and ideology. A thoroughly modernist film, Potemkin is highly innovative in form and is often taken as a model of editing; it has regularly appeared on many lists of the greatest films of all time and since its release in 1925 has been a major critical success. Formally, the film embodies Eisenstein’s theory of montage, that the juxtaposition of images can generate (...) meanings and on the level of ideology, the film serves as effective propaganda for the Bolsheviks. (shrink)

French theorist Jean Baudrillard is one of the foremost contemporary critics of society and culture who is often seen as the guru of French postmodern theory. A prolific author who has written over twenty books, reflections on art and aesthetics are an important, if not central, aspect of his work. Although his writings exhibit many twists, turns, and surprising developments as he moved from synthesizing Marxism and semiotics to a prototypical postmodern theory, interest in art remains a constant of his (...) theoretical investigations and literary experiments. (shrink)

Baudrillard, Jean (1929) was born in the cathedral town of Reims, France. His grandparents were peasants, his parents became civil servants, and he was the first member of his family to pursue an advanced education. In 1956, he began working as a professor of secondary education in a French high school (Lyceé) and in the early 1960s did editorial work for the French publisher Seuil. Trained as a Germanist, Baudrillard translated Germany literary works including Brecht and Peter Weiss, although he (...) turned to the study of sociology and for some decades was a sociology professor at Nanterre. (shrink)

The 1991 war against Iraq was one of the first televised events of the global village in which the entire world watched a military spectacle unfold via global TV satellite networks.1 In retrospect, the Bush administration and the Pentagon carried out one of the most successful public relations campaigns in the history of modern politics in its use of the media to mobilize support for the war. The mainstream media in the United States and elsewhere tended to be a compliant (...) vehicle for the government strategy to manipulate the public, imperiling democracy which requires informed citizens, checks and balances against excessive government power, and a free and vigorous critical media (see Kellner 1990 and 1992). Indeed, if the media do not adequately inform citizens, provide a check against excessive government power and corruption, and adequately debate the key issues of the day, democracy is undermined. M oreover, the U.S. media, especially CNN, completely dominated global coverage of the event. CNN had cameras and reporters in Baghdad throughout the war, a large crew in Israel, and live coverage of all U.S. military and government press conferences. Thus its images, discourses, and material tended to shape global coverage of the event. This meant that the Bush administration and Pentagon was able to control the flow of images and discourses and thus to manage the TV spectacle of the Gulf War.2 In this chapter, I first discuss the production of the text of the "crisis in the Gulf" and then "the Gulf war." This will involve analysis of disinformation and propaganda campaigns by the Bush administration, the Pentagon, and their allies, as well as dissection of the constraints produced by the so-called pool system. I also indicate how the political economy of the media in the United States facilitated the manufacturing of consent for U.S. government policies. Then I analyze the meanings embedded in the text of the war against Iraq and the reception of the text/event by the audience.. (shrink)

During the 1980s, Jean Baudrillard has been promoted in certain circles as the new McLuhan, as the most advanced theorist of the media and society in the so-called postmodern era.[1] His theory of a new, postmodern society rests on a key assumption that the media, simulations, and what he calls "cyberblitz" constitute a new realm of experience and a new stage of history and type of society. To a large extent, Baudrillard's work consists in rethinking radical social theory and politics (...) in the light of developments of the consumer, media, information, and technological society. Baudrillard's earlier works focus on the construction of the consumer society and how it provides a new world of values, meaning, and activity, and thus inhabit the terrain of Marxism and political economy. From the mid-1970s on, however, reflections on political economy and the consumer society disappear almost completely from his texts, and henceforth simulations and simulacra, media and information, science and new technologies, and implosion and hyperreality become the constituents of a new postmodern world which -- in his theorizing -- obliterate all the boundaries, categories, and values of the previous forms of industrial society while establishing new forms of social organization, thought, and experience. (shrink)