The Naked Communist argues that the political ideologies of modernity were fundamentally determined by four basic figures: the world, the enemy, the secret, and the catastrophe. While the "world" names the totality that functioned as the ultimate horizon of modern political imagination, the three other figures define the necessary limits of this totality by reflecting on the limits of representation. The book highlights the enduring presence of these figures in the modern imagination through detailed analysis of a concrete historical example: American anti-Communist politics of the 1950s. Its primary objective is to describe the internal mechanisms of what we could call an anti-Communist "aesthetic ideology." The book thus traces the way anti-Communist popular culture emerged in the discourse of Cold War liberalism as a political symptom of modernism. Based on a discursive analysis of American anti-Communist politics, the book presents parallel readings of modernism and popular fiction from the 1950s (nuclear holocaust novels, spy novels, and popular political novels) in order to show that, despite the radical separation of the two cultural fields, they both participated in a common ideological program.
Roland Vegso opens up a new debate in favour of abandoning the very idea of the world in both philosophy and politics. Opening with a reconsideration of the Heideggerian critique of worldlessness, he goes on to trace the overlooked history of this argument in the works of Hannah Arendt, Sigmund Freud, Jacques Lacan, Jacques Derrida and Alain Badiou. This critical genealogy shows that the post-Heideggerian critique of the phenomenological tradition remained limited by its unquestioning investment in the category of the 'world'. As a way out of this historical predicament, Vegso encourages us to create affirmative definitions of worldlessness.
The Naked Communist argues that the political ideologies of modernity were fundamentally determined by four basic figures: the world, the enemy, the secret, and the catastrophe. While the "world" names the totality that functioned as the ultimate horizon of modern political imagination, the three other figures define the necessary limits of this totality by reflecting on the limits of representation. The book highlights the enduring presence of these figures in the modern imagination through detailed analysis of a concrete historical example: American anti-Communist politics of the 1950s. Its primary objective is to describe the internal mechanisms of what we could call an anti-Communist "aesthetic ideology." The book thus traces the way anti-Communist popular culture emerged in the discourse of Cold War liberalism as a political symptom of modernism. Based on a discursive analysis of American anti-Communist politics, the book presents parallel readings of modernism and popular fiction from the 1950s (nuclear holocaust novels, spy novels, and popular political novels) in order to show that, despite the radical separation of the two cultural fields, they both participated in a common ideological program.
Handsomely Done: Aesthetics, Politics, and Media after Melville brings together leading and emerging scholars from comparative literature, critical theory, and media studies to examine Melville’s works in light of their ongoing afterlife and seemingly permanent contemporaneity. The volume explores the curious fact that the works of this most linguistically complex and seemingly most “untranslatable” of authors have yielded such compelling translations and adaptations as well as the related tendency of Melville’s writing to flash into relevance at every new historical-political conjuncture. The volume thus engages not only Melville reception across media (Jorge Luis Borges, John Huston, Jean-Luc Godard, Led Zeppelin, Claire Denis) but also the Melvillean resonances and echoes of various political events and movements, such as the Attica uprising, the Red Army Faction, Occupy Wall Street, and Black Lives Matter. This consideration of Melville’s afterlife opens onto theorizations of intermediality, un/translatability, and material intensity even as it also continually faces the most concrete and pressing questions of history and politics.
Roland Vegso opens up a new debate in favour of abandoning the very idea of the world in both philosophy and politics. Opening with a reconsideration of the Heideggerian critique of worldlessness, he goes on to trace the overlooked history of this argument in the works of Hannah Arendt, Sigmund Freud, Jacques Lacan, Jacques Derrida and Alain Badiou. This critical genealogy shows that the post-Heideggerian critique of the phenomenological tradition remained limited by its unquestioning investment in the category of the 'world'. As a way out of this historical predicament, Vegso encourages us to create affirmative definitions of worldlessness.
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