Following his hugely popular book, The Wisdom of Donkeys, Andy Merrifield breathes new life into the Marxist tradition.
Magical Marxism demands something more of traditional Marxism - something more interesting and liberating. It asks that we imagine a Marxism that moves beyond debates about class, the role of the state and the dictatorship of the proletariat. In escaping the formalist straitjacket of orthodox Marxist critique, Merrifield argues for a reconsideration of Marxism and its potential, applying previously unexplored approaches to Marxist thinking that will reveal vital new modes of political activism and debate.
This book will provoke and inspire in equal measure. It gives us a Marxism for the 21st century, which offers dramatic new possibilities for political engagement.
The Maoist state’s dominance over Chinese society, achieved through such watersheds as the Great Leap Forward and the Cultural Revolution, is well known. Maoism at the Grassroots reexamines this period of transformation and upheaval from a new perspective, one that challenges the standard state-centered view. Bringing together scholars from China, Europe, North America, and Taiwan, this volume marshals new research to reveal a stunning diversity of individual viewpoints and local experiences during China’s years of high socialism.
Focusing on the period from the mid-1950s to 1980, the authors provide insights into the everyday lives of citizens across social strata, ethnicities, and regions. They explore how ordinary men and women risked persecution and imprisonment in order to assert personal beliefs and identities. Many displayed a shrewd knack for negotiating the maze-like power structures of everyday Maoism, appropriating regime ideology in their daily lives while finding ways to express discontent and challenge the state’s pervasive control.
Heterogeneity, limited pluralism, and tensions between official and popular culture were persistent features of Maoism at the grassroots. Men had gay relationships in factory dormitories, teenagers penned searing complaints in diaries, mentally ill individuals cursed Mao, farmers formed secret societies and worshipped forbidden spirits. These diverse undercurrents were as representative of ordinary people’s lives as the ideals promulgated in state propaganda.
Observers have been predicting the demise of China’s political system since Mao Zedong’s death over thirty years ago. The Chinese Communist state, however, seems to have become increasingly adept at responding to challenges ranging from leadership succession and popular unrest to administrative reorganization, legal institutionalization, and global economic integration. What political techniques and procedures have Chinese policymakers employed to manage the unsettling impact of the fastest sustained economic expansion in world history?
As the authors of these essays demonstrate, China’s political system allows for more diverse and flexible input than would be predicted from its formal structures. Many contemporary methods of governance have their roots in techniques of policy generation and implementation dating to the revolution and early PRC—techniques that emphasize continual experimentation. China’s long revolution had given rise to this guerrilla-style decisionmaking as a way of dealing creatively with pervasive uncertainty. Thus, even in a post-revolutionary PRC, the invisible hand of Chairman Mao—tamed, tweaked, and transformed—plays an important role in China’s adaptive governance.
Messiah of the New Technique: John Howard Lawson, Communism, and American Theatre, 1923–1937 is a critical and political biography and a cultural and social history that focuses on Lawson’s career in the theatre. Using a materialist methodology, Jonathan L. Chambers emphasizes the evolution and interplay of the playwright’s artistic vision and political ideology, considering his art as both a documentation of this evolution and a product of the socio-political and cultural matrix in which he was immersed.
Spanning the playwright’s career, the volume details Lawson’s early indoctrination in and commitment to the avant-garde, his use and development of various nonrealistic playwriting techniques, his subtle though unfocused attacks on bourgeois society, and the varied critical responses he received. Chambers addresses Lawson’s involvement with the New Playwrights’ Theatre and his participation in the protests surrounding the case of Nicola Sacco and Bartolomeo Vanzetti, which stimulated his growing commitment to left-wing politics and radical causes.
Chambers also analyzes the social and cultural factors that shaped Lawson’s growing interest in revolutionary politics, his tutelage in Marxism under Edmund Wilson, and his tenure as president of the Screen Writers Guild. He also covers the final phase of Lawson’s playwriting career, which reveals the playwright’s internal struggle. That struggle, suggests Chambers, pitted Lawson’s view of aesthetics against his political ideology and is reflected in his scripts and theoretical writings.
Messiah of the New Technique provides a wealth of new material about both the playwright and the period, offering a critical synopsis of the artist’s career, addressing his often vehement rebuttals to his critics, and summarizing both his political activism and his creative and critical endeavors in the last forty years of his life.
In the early sixteenth century, the monk Filofei proclaimed Moscow the “Third Rome.” By the 1930s, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world.
Clark provides an interpretative cultural history of the city during the crucial 1930s, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today—transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin.
Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press