Looking For The Proletariat

Looking for the Proletariat is a contribution to understanding the implosion of the Marxist Imaginary. The implosion is staged in terms of the first English-language history of the French revolutionary group Socialisme ou Barbarie from 1949 to 1957. It explains why Socialisme ou Barbarie was the only Marxist organization interested by worker experience and how the group’s anti-Leninist position on organization led it to privilege first-person worker narratives in order to understand worker experience and its revolutionary possibilities. Using the only first-person accounts of working-class experience in French industry of the 1950s, the book explores the disintegration of collective investment in the Marxist Imaginary that unfolded at Renault’s Billancourt factory in the aftermath of the Hungarian Revolution and the contexts that shaped it.

Offers an analysis of Marx's controversial theory of the dictatorship of the proletariat, arguing that it can no longer be displaced or ignored as the viable democratic centre of Marxist political thought. The book traces the development of the theory from the early work of Marx and Engels to 1924.

In the wake of Mexico’s revolution, artists played a fundamental role in constructing a national identity centered on working people and were hailed for their contributions to modern art. Picturing the Proletariat examines three aspects of this artistic legacy: the parallel paths of organized labor and artists’ collectives, the relations among these groups and the state, and visual narratives of the worker. Showcasing forgotten works and neglected media, John Lear explores how artists and labor unions participated in a cycle of revolutionary transformation from 1908 through the presidency of Lázaro Cárdenas (1934–1940). Lear shows how middle-class artists, radicalized by the revolution and the Communist Party, fortified the legacy of the prerevolutionary print artisan José Guadalupe Posada by incorporating modernist, avant-garde, and nationalist elements in ways that supported and challenged unions and the state. By 1940, the state undermined the autonomy of radical artists and unions, while preserving the image of both as partners of the “institutionalized revolution.” This interdisciplinary book explores the gendered representations of workers; the interplay of prints, photographs, and murals in journals, in posters, and on walls; the role of labor leaders; and the discursive impact of the Spanish Civil War. It considers “los tres grandes”—Rivera, Siquieros, and Orozco—while featuring lesser-known artists and their collectives, including Saturnino Herrán, Leopoldo Méndez, Santos Balmori, and the League of Revolutionary Writers and Artists (LEAR). The result is a new perspective on the art and politics of the revolution.

In this highly readable and thought-provoking work, Nick Dyer-Witheford assesses the relevance of Marxism in our time and demonstrates how the information age, far from transcending the historic conflict between capital and its laboring subjects, constitutes the latest battleground in their encounter. Dyer-Witheford maps the dynamics of modern capitalism, showing how capital depends for its operations not just on exploitation in the immediate workplace, but on the continuous integration of a whole series of social sites and activities, from public health and maternity to natural resource allocation and the geographical reorganization of labor power. He also shows how these sites and activities may become focal points of subversion and insurgency, as new means of communication vital for the smooth flow of capital also permit otherwise isolated and dispersed points of resistance to connect and combine with one another. Cutting through the smokescreen of high-tech propaganda, Dyer-Witheford predicts the advent of a reinvented, "autonomist" Marxism that will rediscover the possibility of a collective, communist transformation of society. Refuting the utopian promises of the information revolution, he discloses the real potentialities for a new social order in the form of a twenty-first-century communism based on the common sharing of wealth.

This masterpiece by Engels reflects his views on the plight of labour classes in England. It is based on his in-depth research and parliamentary reports. In a factual and analytic manner he has voiced his support for fundamental human rights. It is an emphatic protest against the barbarianism of capitalism and industrialization. A prototypical opus!

No other Marxist text has come close to achieving the fame and influence of The Communist Manifesto. Translated into over 100 languages, this clarion call to the workers of the world radically shaped the events of the twentieth century. But what relevance does it have for us today? In this slim book Slavoj Zizek argues that, while exploitation no longer occurs the way Marx described it, it has by no means disappeared; on the contrary, the profit once generated through the exploitation of workers has been transformed into rent appropriated through the privatization of the ‘general intellect’. Entrepreneurs like Bill Gates and Mark Zuckerberg have become extremely wealthy not because they are exploiting their workers but because they are appropriating the rent for allowing millions of people to participate in the new form of the ‘general intellect’ that they own and control. But, even if Marx’s analysis can no longer be applied to our contemporary world of global capitalism without significant revision, the fundamental problem with which he was concerned, the problem of the commons in all its dimensions – the commons of nature, the cultural commons, and the commons as the universal space of humanity from which no one should be excluded – remains as relevant as ever. This timely reflection on the enduring relevance of The Communist Manifesto will be of great value to everyone interested in the key questions of radical politics today.