Телеграм канал «Политическая теория и философия (Political theory and philosophy)»

Неприрученная мысль и разум структуралиста

Фрагмент книги Фредрика Джеймисона «Годы теории»

Весной 2021 года американский философ и критик Фредрик Джеймисон (1934–2024) прочитал курс лекций для магистрантов Университета Дьюка, посвященный основным вехам современной французской теории: экзистенциализму, структурализму, постструктурализму, семиотике, феминизму. Своей задачей он видел не столько стройное описание всех этих направлений мысли, сколько изображение самого процесса их складывания на фоне бурных политических событий послевоенного времени. Предлагаем ознакомиться с лекцией, в которой Джеймисон дает характеристику трем периодам в творчестве Клода Леви-Стросса.

https://gorky.media/fragments/nepriruchennaya-mysl-i-razum-strukturalista

The El Martillo Project
 
In 2010 an inconspicuous looking suitcase was sent from Berlin to Mexico City containing a 39-foot tall inflatable silver hammer. Thus began El Martillo’s odyssey to protest the United Nations Climate Conference in Cancún. El Martillo’sshort, but glorious life, climaxed when protesters from Marea Creciente (Rising Tide) stormed the conference complex fences, gigantic hammer above their heads. In full view of the press Mexican police tore the inflatable to pieces. Within an hour global the media corporations declared El Martillo a symbol of the climate changes protests as its image traveled across the world.
 
The El Martillo Project documents the whole process from its conception and construction to the media flurry it sparked off. Included are numerous full color images and documentation of the project; texts and analysis by David Graeber, Alex Dunst, and Cristian Guerrero; an interview with John Jordan from the Laboratory of Insurrectionary Imagination; and a fold out technical manual and plan for creating giant inflatable hammers.
 
Initially inspired by the quote “Art is not a mirror held up to reality, but a hammer with which to shape it,” The El Martillo Project aims to inspire creative action and joyful disobedience.

Adorno, Hegel, and Negative Dialectics

Professor Martin Saar discusses Adorno and Hegel, with Billie Alexopoulos, Lea Gekle, and Bernard E. Harcourt at the public seminar Hegel 13/13 at the EHESS Campus Condorcet in Paris.

https://www.youtube.com/watch?v=l1Qt3tznA78

Jacob Collins - Rhythms of History

Emmanuel Le Roy Ladurie, who died late last year, was among the great French historians of the twentieth century. A researcher of singular ability and imagination, he trained as a social historian in the Annales tradition, and came to prominence with the publication of Les Paysans de Languedoc (1966), which legitimized his succession to the editorship of the Annales journal, launched by Marc Bloch and Lucien Febvre in 1929. Whereas his predecessor, Fernand Braudel, had widened the geographical sweep of Annales history during his post-war tenure, pushing beyond France to encompass the economic and social activity of the greater Mediterranean world, Le Roy Ladurie returned the focus to rural France. He would go on to undertake a series of methodological experiments in fine-grained, micro-level analysis. At the same time, Le Roy Ladurie developed a form of climate history that sought to grasp the interrelationship between the environment and human society, virtually inventing the field in the process.

https://newleftreview.org/sidecar/posts/rhythms-of-history

John Roberts - Red Days: Popular Music & the English Counterculture 1965-1975

The passion, intensity and complexity of the popular music produced in England between 1965-75 is the work of an extraordinary generation of working class and lower middle class men and women (in alliance with a handful of middle-class men and women) who saw in the new music the remaking of something bigger than themselves, or more precisely, something bigger than themselves that they could guide and shape and call their own. In this the ‘use-values’ of popular music underwent an unprecedented expansion and diversity during this period. Red Days presents how music and action, music and discourse, experienced a profound re-functioning as definitions of the popular unmoored themselves from the condescending judgements of post-1950s high culture and the sentiment of the old popular culture and the musicologically conformist rock ‘n’ roll seeking to displace it. The remaking of the popular between 1965-1975, accordingly, is more than a revision of popular taste, it is, rather, the demolition of old cultural allegiances and habits, as forces inside and outside of music shattered the assumption of popular music as the home for passive adolescent identifications.