Dialectical Theory Of Meaning

Dialectical Theory of Meaning

This prize monograph was a pioneering work among Marxist philosophers, East and West, twenty-five years ago. To our mind, the work would have been received with respect and pleasure by philosophers of many viewpoints if it had been known abroad then. Now, revised for this English-language editiJn by our dear and honored colleague Mihailo Markovic, it is still admirable, still the insightful and stimulating accomplishment of a pioneering philosophical and scientific mind, still resonating to the three themes of technical mastery, humane purpose, political critique. Markovic has always worked with the scientific and the humanist disci plines inseparably, a faithful as well as a creative man oflate twentieth century thOUght. Reasoning is to be studied as any other object of investigation would be: empirically, theoretically, psychologically, historically, imaginatively. But the entry is often through the study of meaning, in language and in life. In his splendid guide into the work before us, his Introduction, Markovic shows his remarkable ability as the teacher, motivating, clarifying, sketching the whole, illuminating the detail, Critically situating the problem within a practical understanding of the tool oflanguage.

Dialectical Theory of Meaning

Dialectical Passions

Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.