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An assessment
S. H. Rigby

CHAPTER SEVEN Dialectical materialism: an assessment The more general the generalization, the more successful it is in incorporating a range of occurrences which may be subsumed under it ... the less it tells us about the specific event or phenomenon in question (Giddens, 1974: 7). ENGELS' ONTOLOGY Philosophical materialism How valid is the dialectical and materialist ontology which Engels defended in his later works: Is his philosophical outlook in contradiction with the historical materialism which he and Marx had arrived at in the 1840s: In order to assess

in Engels and the formation of Marxism
S. H. Rigby

CHAPTER SIX Dialectical materialism This morning while I lay in bed, the following dialectical points about the natural sciences occurred to me_ ... (Engels to Marx, 1873. SC: 264). In The German Ideology, Marx and Engels outlined an historical materialism which, like any other sociological or historical paradigm, could be assessed in terms of its logical coherence and empirical validity. Yet, it is often claimed that historical materialism is something more than just another variety of social theory; it is the application to human history of a broader

in Engels and the formation of Marxism
Dave Boothroyd

5 Benjamin’s ‘curious dialectics of intoxication’ An intoxication comes over the man who walks for long and aimlessly through the streets. With each step, the walk takes on greater momentum; ever weaker grow the temptations of shops, of bistros, of smiling women, ever more irresistible the magnetism of the next street corner, of a distant mass of foliage, of a street name. Then comes hunger. Our man wants nothing to do with the myriad possibilities offered to sate his appetite. Like an ascetic animal, he flits through unknown districts – until utterly exhausted

in Culture on drugs
Abstract only
Des O’Rawe

4 Eclectic dialectics We discover then that power is present in the most delicate mechanisms of social exchange: not only in the State, in classes, in groups, but even in fashion, public opinion, entertainment, sports, news, family and private relations, and even in the liberating impulses which attempt to counteract it. (Roland Barthes)1 As a documentary filmmaker, William Klein has been a ­prodigious­– ­if unpredictable­– ­figure, often drawn to sensitive social fault lines, and the indeterminate spaces that exist between conventional categories and

in Regarding the real
Friedrich Schiller and the liberty of play
Peter M. Boenisch

3 Theatre as dialectic institution: Friedrich Schiller and the liberty of play We have started exploring how Regie reveals through scenes and senses a historically situated ‘style of thinking’, associated with the post-Kantian, post-1789 Western European ‘aesthetic regime of art’. No longer serving the functional semiotic economy of representation, it uses the three theatral ‘sensibles’ of kinesis, aisthesis and semiosis to insist on a subjective, affective intelligibility and sensibility. Already in 1803, we find a detailed outline by none other than German

in Directing scenes and senses
Jane Chin Davidson

The dialectical image of empire The dialectical image of empire Dialectic of the newest and oldest   Fashion is a canon for this dialectic also   The oldest as newest: the daily news The newest as oldest: the Empire1 The global artfair is considered the new entity of the globalized art institution – biennials and triennials have proliferated across the globe since the 1990s, appearing in a variety of cities such as Shanghai and Guangzhou in China; and in cities from diverse regions including Istanbul, Tanzania, Brisbane, Dakar, Sao Paolo, and Kwangju, to

in Staging art and Chineseness
Chiharu Yoshioka

The Gothic is the discourse which embodies the dialectic of the Enlightenment, with its potential to push the frontier of reason into the mythologized darkness. Embarking on the use of genre fiction as political discourse and finding a voice to tell a story of her generation, Carter made a major breakthrough in her career. Making use of the Gothic palimpsest, Carters Marianne leaves behind the sphere of (feminine) ‘interiority’-the psychic spaces of desire and anxiety for the (supposedly masculine) catharsis in the Other world, as a sixties heroine of sensibility. Heroes and Villains calls for the reconstruction of enlightenment at the ‘post-modern’ ruins of civilization.

Gothic Studies
John P. Clark

1 John P. Clark Anarchy and the dialectic of utopia The highest aspirations of the imagination are called utopia. But utopia is just as much the enemy of the imagination, and is our nemesis today. We live in the shadow of a terrifying utopia and must search the shadows for those other utopias that have been eclipsed. The dominant utopia is the utopia of endless material progress, based on a fundamental utopian fantasy of infinite powers of production and infinite possibilities for consumption. This utopia inspires the system of superpower that is expanding its

in Anarchism and utopianism
The film criticism of Jacques Rivette
Douglas Morrey
and
Alison Smith

aim, which is not so far removed from Bazin’s, is to identify those techniques and those films that are best able to capture the totality of the real (Rivette 1950a : 2). This does not necessarily entail a hostility to montage since, as Rivette argues, in Eisenstein’s work, each shot is conceived as a totality in itself before being placed in a dialectical relation to the totalities constituted by

in Jacques Rivette
Lucy Robinson

Traditionalists thought politicians should stick to politics. Kinnock's biographer, Michael Leapman, saw the video as simultaneously part of Labour's drive to recruit young voters in the same year, and as ‘non-political’. More recently, Alan Scott and John Street put Kinnock in a pop/politics dialectic: ‘politicians have become part of the popular culture that they also seek to control’ whilst simultaneously, musicians like Bono and Bob Geldof have ‘take[n] on the guise of politicians’. 20 Rather than politicising popular

in Now that’s what I call a history of the 1980s