Red Kant Aesthetics Marxism And The Third Critique

Is Kant really the 'bourgeois' philosopher that his advocates and opponents take him to be? In this bold and original re-thinking of Kant, Michael Wayne argues that with his aesthetic turn in the Third Critique, Kant broke significantly from the problematic philosophical structure of the Critique of Pure Reason. Through his philosophy of the aesthetic Kant begins to circumnavigate the dualities in his thought. In so doing he shows us today how the aesthetic is a powerful means for imagining our way past the apparent universality of contemporary capitalism. Here is an unfamiliar Kant: his concepts of beauty and the sublime are reinterpreted as attempts to socialise the aesthetic while Wayne reconstructs the usually hidden genealogy between Kant and important Marxist concepts such as totality, dialectics, mediation and even production. In materialising Kant's philosophy, this book simultaneously offers a Marxist defence of creativity and imagination grounded in our power to think metaphorically and in Kant's concept of reflective judgment. Wayne also critiques aspects of Marxist cultural theory that have not accorded the aesthetic the relative autonomy and specificity which it is due. Discussing such thinkers as Adorno, Bourdieu, Colletti, Eagleton, Lukács, Ranciére and others, Red Kant: Aesthetics, Marxism and the Third Critique presents a new reading of Kant's Third Critique that challenges Marxist and mainstream assessments of Kant alike.

Is Kant really the 'bourgeois' philosopher that his advocates and opponents take him to be? In this bold and original re-thinking of Kant, Michael Wayne argues that with his aesthetic turn in the Third Critique, Kant broke significantly from the problematic philosophical structure of the Critique of Pure Reason. Through his philosophy of the aesthetic Kant begins to circumnavigate the dualities in his thought. In so doing he shows us today how the aesthetic is a powerful means for imagining our way past the apparent universality of contemporary capitalism. Here is an unfamiliar Kant: his concepts of beauty and the sublime are reinterpreted as attempts to socialise the aesthetic while Wayne reconstructs the usually hidden genealogy between Kant and important Marxist concepts such as totality, dialectics, mediation and even production. In materialising Kant's philosophy, this book simultaneously offers a Marxist defence of creativity and imagination grounded in our power to think metaphorically and in Kant's concept of reflective judgment. Wayne also critiques aspects of Marxist cultural theory that have not accorded the aesthetic the relative autonomy and specificity which it is due. Discussing such thinkers as Adorno, Bourdieu, Colletti, Eagleton, Lukács, Ranciére and others, Red Kant: Aesthetics, Marxism and the Third Critique presents a new reading of Kant's Third Critique that challenges Marxist and mainstream assessments of Kant alike.

Considering Class offers international, interdisciplinary perspectives on class analysis today. It explores the gap between the class forces shaping the world and the paucity of class-consciousness at a popular level. The book shows the importance of the cultural struggle.

Introducing the key concepts and thinkers within the Marxist tradition, Marxism Goes to the Movies demonstrates their relevance to film theory and practice past and present. Author Mike Wayne argues that Marxist filmmaking has engaged with and transformed this popular medium, developing its potential for stimulating revolutionary consciousness. As the crisis of capitalism deepens, this history and these resources are vital for a better future. Marxism is one of the few approaches that can bring together political, economic, formal and cultural analysis into a unified approach of studying film, and how films in turn can help us understand and even critically interrogate these forces. The book examines how filmmakers, who have been influenced by Marxism, have made some of the most significant contributions to film culture globally, and provides historical perspective on the development of Marxism and film. Each chapter covers a broad theme that is broken down into sections that are cross-referenced throughout, providing helpful navigation of the material. Clear and concise in its arguments, this is an ideal introduction for students of Marxism and film, inviting readers to deepen their knowledge and understanding of the subject.

An intense and lively debate on literature and art between thinkers who became some of the great figures of twentieth-century philosophy and literature. With an afterword by Fredric Jameson No other country and no other period has produced a tradition of major aesthetic debate to compare with that which unfolded in German culture from the 1930s to the 1950s. In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.

The book is a study of Adorno's aesthetics, its philosophical background, and its account of aesthetic modernism.