Geoff Boucher

Bucher ascertains that Butler's description of the temporalized process of structuration, which seeks to avoid recourse to political voluntarism, or the sovereign intentionality of the autonomous individual, yields powerful insights into social identity. He asserts further that Butler's description of the dominant heterosexual culture in terms of melancholia, and her insights into the structures of repetition and difference that make up the social conventions that produce cultural norms, represent important resources in thinking about contemporary cultural conflicts.

Slavoj Zizek is one of the most provocative and important thinkers writing in contemporary philosophy. This book is an engaged debate with Zizek. It contains a series of specially commissioned critical essays from an impressive collection of contributors covering the full extent of his oeuvre. Essays examine Zizek on cultural theory, film studies, ethics, political theory, social theory, Kant and Lacanian psychoanalysis. In the spirit of Zizek‘s own interventions, these essays critically interrogate his ideas, challenging him to respond directly which he does in an extended polemical reply that concludes the collection. This volume represents an exciting and important contribution to contemporary theoretical debate and adds significantly to the growing literature on Zizek.

In Écrits, Lacan proposes an "unthinkable list" of objects (a) that includes "the phoneme, the gaze, the voice – the nothing". While the gaze and the voice have received extensive critical commentary, the phoneme and the nothing have gone practically unnoticed. I propose to theoretically construct the object (a) by means of an explication of Lacan’s enigmatic allusion to the phoneme and the nothing. I contend that the phoneme is the "ur-form" of the object (a), whose ontological status is nothing. As the ur-form of the object (a) (both structurally and genetically), the phoneme exemplifies the primary function of the structural causality of the Lacanian Real within the Symbolic Order, namely, the function of the bar resisting signification between signifier and signified. By developing the concept of the object (a) in relation to linguistics, psychoanalysis can reply to the persistent misunderstanding of Lacan’s position by deconstructive critics, such as Judith Butler

"We have learnt to see Joyce as Lacan's own symptom," writes Jean-Michel Rabate, "and as the sinthome par excellence" (2006, 26). This duality of Joyce as an unreadable text permeated with enjoyment and at the same time as an enigma that Lacan wants to decipher supplies the key to an understanding of Seminar XXIII. Lacan's addition to the triad of the Real, the Symbolic and the Imaginary of a fourth term, the Sigma (or sinthome) firms up his late shift from the speakingbeing (parletre, the Lacanian neologism that indicates the insertion of the human being into the signifying chain) to MAN (LOM, a Lacanian play on l'homme). Instead of the human being as inserted into the Symbolic Order, Seminar XXIII presents Joyce as inserting himself into language, tying the signifier to the body in a special, unique way. For Lacan, the sinthome is eccentric to the registers of the Real, Symbolic and Imaginary, yet it paradoxically links them when the Name-of- the-Father fails. The implication is carried in the concept of "nomination" that the Name-of-the-Father (or its structural equivalents, such as "Woman," "God" and "Joyce") makes language possible for the individual

Andrew Marvell’s “To His Coy Mistress” is one of the best known and most commented on poems in the English language. According to the critical consensus, the poem is a seduction gambit in the “Carpe Diem” tradition. Interpretive debate therefore revolves around the significance of the allusions and imagery of the poem, rather than its central meaning. Moving against the current, this article challenges the critical consensus that Marvell’s “To His Coy Mistress” is a poem that has seduction as its main significance or implied intention. Reading the poem with attention to its ironic moments and theological references reveals that its allusions and imagery are systematically ambivalent. In the context of Marvell’s other poetry, especially “Dialogue of the Soul and the Body,” it becomes possible to show that “Coy Mistress” shares many features with these metaphysical meditations on mortality and spirituality. By making reference to psychoanalytic theory, the article then demonstrates the plausibility of a reading in which the poem aims to avoid, rather than engorge, sexual desire. The poem is a monument to repression, and a reminder of mortality, not a love lyric.

Frankfurt School critical theory is perhaps the most significant theory of society to have developed directly from a research programme focused on the critique of political authoritarianism, as it manifested during the interwar decades of the 20th century. The Frankfurt School’s analysis of the persistent roots – and therefore the perennial nature – of what it describes as the ‘authoritarian personality’ remains influential in the analysis of authoritarian populism in the contemporary world, as evidenced by several recent studies. Yet the tendency in these studies is to reference the final formulation of the category, as expressed in Theodor Adorno and co-thinkers’ The Authoritarian Personality, as if this were a theoretical readymade that can be unproblematically inserted into a measured assessment of the threat to democracy posed by current authoritarian trends. It is high time that the theoretical commitments and political stakes in the category of the authoritarian personality are re-evaluated, in light of the evolution of the Frankfurt School. In this paper, I review the classical theories of the authoritarian personality, arguing that two quite different versions of the theory – one characterological, the other psychodynamic – can be extracted from Frankfurt School research.

Dismissed as a miserable elitist who condemned popular culture in the name of 'high art', Theodor W. Adorno (1903–1969) is one of the most provocative and important yet least understood of contemporary thinkers. This book challenges this popular image and re-examines Adorno as a utopian philosopher who believed authentic art could save the world. Adorno Reframed is not only a comprehensive introduction to the reader coming to Adorno for the first time, but also an important re-evaluation of this founder of the Frankfurt School. Using a wealth of concrete illustrations from popular culture, Geoffrey Boucher recasts Adorno as a revolutionary whose subversive irony and profoundly historical aesthetics defended the integrity of the individual against social totality

Marxism as an intellectual movement has been one of the most important and fertile contributions to twentieth-century thought. No social theory or political philosophy today can be taken seriously unless it enters a dialogue, not just with the legacy of Marx, but also with the innovations and questions that spring from the movement that his work sparked, Marxism. Marx provided a revolutionary set of ideas about freedom, politics and society. As social and political conditions changed and new intellectual challenges to Marx's social philosophy arose, the Marxist theorists sought to update his social theory, rectify the sociological positions of historical materialism and respond to philosophical challenges with a Marxist reply. This book provides an accessible introduction to Marxism by explaining each of the key concepts of Marxist politics and social theory. The book is organized into three parts, which explore the successive waves of change within Marxist theory and places these in historical context, while the whole provides a clear and comprehensive account of Marxism as an intellectual system.

In Zizek and Politics, Geoff Boucher and Matthew Sharpe go beyond standard introductions to spell out a new approach to reading Zizek, one that can be highly critical as well as deeply appreciative. They show that Zizek has a raft of fundamental positions that enable his theoretical positions to be put to work on practical problems. Explaining these positions with clear examples, they outline why Zizek's confrontation with thinkers such as Derrida, Foucault and Deleuze has so radically changed how we think about society. They then go on to track Zizek's own intellectual development during the last twenty years, as he has grappled with theoretical problems and the political climate of the War on Terror. This book is a major addition to the literature on Zizek and a crucial critical introduction to his thought.

The chapter presents Laclau and Mouffe’s theory and then outlines some of the most important criticism of their discourse analysis. After a brief summary of key terms, such as hegemonic articulation and constitutive outside, the chapter positions Laclau and Mouffe within the post-Althusserian moment, arguing that they inherit certain unresolved problems from this origin. The first problem concerns the application of categories derived from the theory of ideology to the entirety of the social field, which leads to what the chapter calls ‘descriptive indeterminacy.’ The second problem concerns the suppression of the normative dimension in the theory of social subjectivity, which leads to an oscillation between neutral description and partisan intervention. In both cases, Laclau and Mouffe’s response to these criticisms is explored and evaluated.

Although Habermas has written about the cultural role of literature and about literary works, he has not systematically articulated a literary-critical method as a component of either communicative reason or post-metaphysical thinking. Habermas and Literature brings Habermasian concepts and categories into contact with aesthetic and cultural theories in and around the Frankfurt School, and beyond. Its central claim is that Habermas' contribution to literary and cultural criticism is the concept of literary rationality and the notion that literature performs a key role in the formation of the modern social imaginary. Habermas and Literature maintains that literary works have “two faces” – discursive intervention in the public sphere and personal integration of imaginative disclosures – that depend upon two modalities of literary reception: critique and identification. It develops the resulting literary theory through detailed discussion of the theories advanced by Habermas, followed in each case by synthetic and reconstructive argumentation that brings the framework of communicative reason into dialogue with literary methods, aesthetic theories and psychoanalytic categories. It does so through close engagement with debates around aesthetic rationality, world disclosure, social imaginaries, post-secular society and the utopian demand for happiness articulated by artworks. In the process, the Habermasian position is critically reconstructed when necessary, with reference to psychoanalytic and literary theories, and tested, in relation to demanding fiction and popular works.

“Would you like to think about,” Thomas Mann famously asked Theodor Adorno, while writing his masterpiece, Doctor Faustus, “what sort of music you would write if you were in league with the devil?” Subtitled The Life of the Composer Adrian Leverkühn, As Told by a Friend, the novel presents the narrative, by humanist professor, Serenus Zeitblom, of the descent into madness of the musical genius, Adrian Leverkühn. In the story, Leverkühn achieves an avant-garde breakthrough into atonal dissonance that is modelled on the twelve tone row procedure of Arnold Schönberg, as represented to Mann by the work’s “musical adviser,” Adorno. Over the space of a year, Adorno’s response to Mann went far beyond the “few significant details” requested by the author, extending to 20 pages of text and notation, and embracing not just the diabolical breakthrough of Leverkühn’s Apocalipsis cum figuris, but also the redemptive retraction of The Lamentations of Doctor Faustus. It is at this point that we must pause. The combination of the authorship controversy between Mann and Schönberg over the inspiration for the works of Leverkühn, the fact that Mann’s Leverkühn is in the main a transcription of Adorno’s Schönberg, and the fact that Adorno only wrote the second half of Philosophy of Modern Music in 1948, after the collaboration with Mann had finished, has generated a major critical lapse. The general assumption is that the music that Adorno would write in league with the Devil is the music of Schönberg. But that assumption is false. The music that Adorno would write in league with the Devil is the music of Stravinsky. Leverkühn’s diabolically-inspired masterpiece, Apocalipsis, is definitely “Stravinskyian”. By contrast, the redemptive Lamentation is clearly “Schönbergian”. I intend to demonstrate this by highlighting the distinctive characteristics of “Schönberg” and “Stravinsky” in Philosophy of Modern Music, and then comparing these characteristics with those of Leverkühn’s imaginary works.

The underlying equation between revolutionary politics and military strategy in the work of Marx and Engels is well known. For the founders of Marxism, class struggle and revolutionary warfare are simply different intensities, different visibilities, of the same logic—“now hidden, now open”—of hostility. If the class struggle over the working day represents a “veritable civil war”, and “every class struggle is a political struggle,” then it is no surprise that class politics, the confrontation of class-on-class, vying for state power, “is the point where [civil] war breaks out into open revolution”. Revolution is warfare. Politics is coercion. Exploitation is domination. The state is an instrument of repression—the repression of the producing class by the exploiting class. The political struggle involves latent violence. Accordingly, everyday class struggle is simply an asymmetrical civil war.

In a conjuncture marked by the “resurgence of religion,” the problem of historical materialism’s relation to religious ideologies has acquired a new urgency. The work of Roland Boer, recently awarded the Deutscher Prize for his magnum opus on Marxism and Theology poses this question from a surprising perspective. While his main claim is that religious influences in Marxist theory represent a sort of theological unconscious in historical materialism, at the same time Boer also advances an original Marxist interpretation of the Abrahamic religions, especially Christianity. This line of research, which extends from his dissertation on Jameson and Jeroboam through to his most recent work on The Sacred Economy, proposes that theology is a reflective representation of the social totality. In this article, I criticize Boer’s valorization of theology as a practical discourse that is postideological but non-theoretical, and conclude by indicating an alternative.