Modernity Gone Awry: Lefort on Totalitarian and Democratic Self-representation

Abstract

This essay starts by reviewing Claude Lefort's writings on totalitarianism, a theme that runs like a red thread through his oeuvre and plays a key role in the different stages of his intellectual development. The analysis of the USSR is a central interest of Lefort and his colleagues at Socialisme ou Barbarie (and inspires them to adopt an explicitly "political" approach against the "economism" of their fellow Marxists); the problem of totalitarianism features prominently in Lefort's theory of democracy and human rights (where it functions as the "flipside" of democracy); and the theme holds Lefort's attention well after the events of 1989. The emphasis of this essay, however, is not on the chronology of Lefort's trajectory, but on the methodological role of totalitarianism in his theoretical framework. Lefort's account of totalitarianism serves him as a tool to dissect the symbolic fabric of modern society. In Arendt's view, totalitarian rule reveals something of the essence of modernity, as a movement towards ever increasing technical mastery. For Lefort, by contrast, totalitarian tendencies arise as an attempt to close off the experience of indeterminacy that has been opened up by political modernity. He shows that the totalitarian "imaginary" (which he dissects in psychoanalytic terms) presupposes yet deliberately inverts the very ideas that sparked the democratic revolution and that are central to the self-representation of democratic societies. In consequence, democracy is continuously at risk of degenerating into totalitarianism. Importantly, the totalitarian threat, which Lefort believes to be the main threat to modern society, only becomes visible by adopting a specifically "political" perspective. It is therefore of the utmost importance that we continue to under stand and to interpret our society in "political" terms, that is, in reference to the symbolic constellation of collective power.     

The Hyper-Hermeneutic Gesture of a Subtle Revolution

Abstract

I argue that Shakespeare's Timon of Athens exemplifies the concept of mourning play that Walter Benjamin had in mind when he wrote The Origin of German Tragic Drama. While others have interpreted the play in various ways, no one has attempted to understand Timon in a Benjaminesque manner that seeks to show the emergence of baroque tragedy as a new aesthetic form at odds with, and liberated from, classical tragedy's mythical foundation and instead premised on historical time and progress. In my discussion, I question the view that Timon possesses inheritable or transmissible human social bonds that can be the subject of annihilation as is the case in Shakespeare's other tragedies. Rather, Benjamin sees in allegory, as illustrated by Timon of Athens, the social condition of modernity replete with suffering, chaos, and violence, but devoid of real human bonds; indeed, it is without human meaning.     

Dis-embedding the Sexual/Social Contract: Citizenship and Gender in Nepal

Carole Pateman's work has been central to feminist critiques of the social contract, revealing it to be better understood as the sexual/social contract in which not only is the contracting individual male, but constructed through the active exclusion of women from the pact. These gendered roles are argued to be the result of the restructuring of society in the advent of modernity. The ramifications for the relationship between gender and citizenship in the non-West where modernity has taken a different trajectory are unclear. By mapping out the nature of citizenship as it evolves in its historical form in Nepal, this article argues not only that citizenship comes to be gendered in historically and culturally specific ways, but that the specific manner in which Nepal has been inserted in the late capitalist global economy--via 'development'--has resulted in de-politicized forms of citizenship with local and global constraints on the enlargement of its political potential.     

Secularization and modernization in Turkey: the ideas of Ziya Gökalp

The pupose of this essay is to re-evaluate the ideas of Ziya Gökalp (1876–1924), the official ideologue of the Young Turk movement and holder of the first chair of sociology at Istanbul University (1912), whose significance within the history of secular political thought and practice in Turkey remains inadequately explored. Focusing on Gökalp's view of the relationship between nationalism, religion and modernity in the Turkish context, I offe both an account of existing Anglophone interpretations of Gökalp's ideas and an alternative intepretation. In the latter, I seek to identify a conceptual frame in Gökalp's thought: the set of concerns and historical developments which comprise what I call the secularization problematic of modernity and which has implications for understanding his view of the relationship between religion and modernity in general and between Islam and Turkish nationalism in the context of modernization in particular.     

Modernist art in the service of Nazi culture: Baldur von Schirach and the Junge Kunst im Deutschen Reich exhibition

ABSTRACT

Maertz's essay offers a history of a modernist art exhibition that opened in Vienna's Künstlerhaus under the patronage of Baldur von Schirach, the Führer's personal representative in that city, the second largest in Nazi Germany. The significance of the 1943 Junge Kunst im Deutschen Reich (New Art in the German Reich) exhibition lies in its assertion of a modernist variant of ‘official’ National Socialist art that clashes with the orthodox aesthetic system typically associated with the Third Reich.     

Nazlı's photographic games: Said and art history in a contrapuntal mode

ABSTRACT

Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazl? Han?m, Roberts analyses the ways they tested Ottoman and western conventions. An examination of Nazl?'s strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. One of the striking things about the Nazl? portraits is their transgressive inventiveness. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. Nazl?'s inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. Roberts argues that Nazl? Han?m's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Said's seminal text Orientalism has been pivotal within these debates. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. Through this case study of Nazl? Han?m's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture.     

From the Agora to the Coffee-House: Heller's Quest for Philosophical Radicalism

Abstract

This paper considers Agnes Heller's attempt to construct a post Marxist radical philosophy. It examines the two main phases of this project: beginning with her late seventies A Radical Philosophy, it charts her development towards the position she now characterises as reflective post-modernism. It shows that despite a constant commitment to rational critique, Heller's concept of philosophical radicalism has shifted from an emphasis on total critique to that of maintaining balance between the rival technological and historical imaginations that exercise a ‘double-bind’ over the modern individual. The paper explains the rationale of this evolution, highlights the features of each phase and critically analyses their weaknesses. Finally it argues that Heller's contemporary position represents a sophisticated attempt to overcome the limitations of former left radicalism and address the continuing need for orientation in contemporary modernity.     

Durkheim and the Reflexive Condition of Modernity

Abstract

In this essay, Durkheim's work is approached from a double vantage point. One vantage point looks at Durkheim's work with a post-classical attitude that inter sects the ontological recasting of the social in the work of Castoriadis. It is in the context of social opening that will concentrate on Durkheim's work as it presents a model of reflexivity that concentrates on the historical development of the modern period. Durkheim's model of reflexivity also opens onto the other vantage point of political modernity, which is viewed as a particular constellation of the circulation of power, especially in nation-states, open forms of reflexivity, and democracy, in contrast to another political modernity that revolves around closed socially reflexive forms of totalitarianism and terrorism. Durkheim's work can be a fruitful point of departure for an analysis of political modernity because his theorisation occurs in a way that opens onto the historical development of its mode of reflexivity.     

Philosophy and the History of Art

Abstract

Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the aim of this paper is to challenge such assertions. It will show that “historical construction” has to be understood in a twofold manner: first, as a transcendental history of the absolute’s artistic individuation and second, as a cultural history of both the ancient and modern worlds of art. Working within this twofold setting the paper argues that Schelling’s systematic approach, while exhibiting a unifying force, still remains open to the otherness of the real.     

“David Byrne really does love PowerPoint”: art as research on semiotics and semiotic technology

This article presents a reading of David Byrne's Envisioning Emotional Epistemological Information, an art work created with MicroSoft's presentation software PowerPoint, as an instance of creative research on semiotics and semiotic technology. It reveals commonalities and differences between Byrne's ideas about PowerPoint and related ideas from linguistics and semiotics, and is intended as a contribution to research on PowerPoint, and on semiotic technologies generally, as well as to efforts aimed at developing criteria for evaluating art as research on semiotics.     

Habermas and the Holy Grail of reason: The Philosophical Discourse of Modernity between theatre and theory

A critical discourse analysis of The Philosophical Discourse of Modernity demonstrates that Habermas's discourse on modernity is theoretische Fiktion (a term Freud used to describe a given theory for which no evidence can be found and no arguments validated). Theatrical narrative strategies from drama are identified that not only organise the logic of the text, but also position readers. The choice of mise en scene—the Oedipal cross‐roads where older and younger protagonists meet in conflict—is seen to position readers as mere spectators. The choice of the narrative trope of the romance of lost opportunity (the road open but not taken) is not merely illustrative, but necessary for the claim that Habermas has redeemed the enlightenment project.

The paper critiques Habermas's theorising on discourse ethics because it distinguishes categories of discourse into scientific/analytical, moral/interpretive and aesthetic/expressive, which operate in three different spheres of value. In particular, it challenges the notion of an “inner logics” for what, in Habermas's stable of discourses, he labels the scientific/analytical. Readers of The Philosophical Discourse of Modernity, the paper demonstrates, are not so much pulled along by the force of the better argument, but seduced by that unbridled beast: the aesthetic/expressive.     

Theorizing Islamism and democracy: Jamaat-e-Islami in India

Liberal reading often posits Islamism as obverse of modernity and reason. Phil Briscoe's statement that Hitler's Mein Kampf might be kept in libraries but not the books by authors like Jamaat-e-Islami's founder's (Maududi) amply illustrates it. This article calls such an understanding into question. On the basis of my historical-ethnographic fieldwork on India's Jamaat-e-Islami and its offshoot, Student Islamic Movement of India (SIMI), I examine the interrelationships between Islamism and democracy showing Jamaat-e-Islami's moderation and SIMI's radicalization. It is my contention that Islamism and democracy are not antithetical to each other; they cohere in complex ways. When democracy is responsive to the traditions and aspirations of its Muslim citizens, Muslims relate to pluralism and democracy. But when democracy becomes majoritarian and a theater of entertainment and violence against Muslims, Islamists turn radical. I also suggest that radicalization such as SIMI's symbolizes a complex dynamic of democratization and demonopolization of religious authority. By foregrounding the salient transformation of Indian Islamism, this article aims to advance a nuanced, fresh understanding of both Islamism and democracy.     

Compressed modernity and its discontents: South Korean society in transtion

According to conventional economic indicators, since late 1997 history has been reversed for South Koreans since late 1997. Their current financial crisis, which would have led to a moratorium without the emergency bail-out packae from teh International Monetary Fund, seems to require not only economic austerity for business firms and citizen but also a total devaluation of their developmental ‘micacle’ in the latter half of the twentieth century. South Koreans' dilemma, if evaluated from a broad historical and theoretical perspective on their compresed modernity, is that the vary mechanisms which made their explosive economic growth possible tend to create various hazardous consequences in social, political, cultural as well as economic life. Patriarchal political authoritarianism chaebol's despotic and monopolistic business practice, abuse and exclusion of labour, neglect of basic welfare rights, ubiquitous physical dangers, and ideological self-nagation are particularly serious examples of such hazards of the uniquely South Korean modernity.     

Modernity,Pluralism, and Catholicism

Over the past century and a quarter, the Catholic Church has passed through four phases in its response to modernity: rejection; the search for a modus vivendi; accommodation; and a critique of modernity from within. The net result of this development has been the recovery of the Church’s understanding of itself as an evangelical or missionary enterprise.     

Mahmud Muhammad Taha and the Rise and Demise of the Jumhuri Movement

Mahmud Muhammad Taha founded the Jumhuri (Republican) Party in 1945 in the context of the fight for Sudan's independence. The nature of the party's ideology went through a radical change after Taha emerged from a mystical retreat in 1951. In the light of this ideology, the party advocated a "neo-Islamist" position committed to a reconciliation of Islam and modernity. Some of Taha's social and political stances are critically examined. Particular attention is paid to the reasons at the root of the demise of the Jumhuri movement after Taha's execution in January of 1985.     

Introuduction to Deleuze

Modernity has faced many criticisms but none more disturbing than Bauman's claim that the potential for a Holocaust exists in all modern societies. Though essentially a sociological work, Bauman's Modernity and the Holocaust centers on political phenomena: bureaucracy, the State's monopoly of coercion and political democracy. This claimed relationship between modernity and the Holocaust is examined critically, drawing particularly on the classic analyses of totalitarianism. The findings show that there is no inherent potential for a Holocaust in modern, rational, society. Rather, ‘common and ordinary’ aspects of modern society serve not to promote but to prevent modern genocide and chosen policies play the largest part in explaining the horrors not only of Nazi Germany but also of Stalinist Russia.     

Minorities and Modernity: The Crisis of Liberal Secularism

The Enlightenment as the origin of modernity and as the foundation of moral universalism has been much invoked by social theory in recent years especially by writers influenced by Michel Foucault's essay on the subject. Postmodernism and cultural anthropology have made the question about Enlightenment universalism ever more pressing. At one level the issue is very simple. By its emphasis on universalism in knowledge and ethics, the Enlightenment made particularity a problem and it resulted in a stigmatization of those social groups that patently departed from its magisterial interpretation of rationality appear to be irrational, premodern and dangerous. Aamir Mufti claims uncontroversially that the Enlightenment idea of universalism set up a series of contrasts between the universalism of the bourgeois world of civility, civilization and citizenship on the one hand and local practices and customs on the other. The result was to construct a classification of social minorities who were deemed to be in need of education, moral reform, modernization and assimilation. Enlightenment in the Colony involves a comparison between “the Jewish Question” and the Partition of India. The particularity of Jews and Muslims is examined in the context of modern assumptions about universalism, especially the notion of universal citizenship.     

The spoils of war

Antony Beevor's Berlin: The Downfall 1945 has been an international best-selling history of the fall of Berlin to Soviet troops in 1945. Now published in paperback, Beevor's magisterial narrative of Berlin's downfall has become a leading work of contemporary popular history. The public discussion of this book has been dominated by two themes: first, the ‘normalization’ of the suffering of German civilians and, second, the ‘disclosure’ of mass rapes by the liberating Soviet army in Germany. This review traces how key debates concerning the remembrance of the Second World War form these dominant readings of Berlin. In particular, it examines the formation of the re-remembering of the wartime rapes of Berlin women, and considers the implications of Beevor's account of the downfall of Berlin for how we understand sexual violence in armed conflict.     

Conceptual art and language: introducing a logico-semantic analysis

This article suggests a logico-semantic analysis of Keith Arnatt's Trouser-Word Piece and Victor Burgin's Room, based on Ludwig Wittgenstein's examination of the logical relationship between propositions and the world and M.A.K. Halliday's discussion of social semiotics. It reconsiders the use of language in conceptual art practices from a wider sociological and interdisciplinary perspective, and aims to show how their juxtaposition of different voices within a public context negotiates the space of art as a social space. Focusing on how artworks communicate in context, the following discussion presents the historical as well as the discursive environment in which Arnatt's and Burgin's works are situated and received; moreover, it examines how these works critically manipulate viewing and reading regimes, frameworks of evaluation and patterns of communication in order to create a situation of particular tension between perceptual and conceptual apprehension. In wider terms, this article demonstrates how critically engaged artworks manipulate the conditions of communication by utilizing loan rhetoric (a rhetoric external to the art context) and displace associate meaning in order to challenge the institutionalization of art's production and function. In doing so, they critically stage and contest the power structures that support corresponding hierarchies across producer, audience and mediator, and bring art's social modality into focus. Investigating the manipulation of language in conceptual art, this article proposes a method of analysis that becomes fundamental in studying contemporary multi-modal art production, and in understanding the dialectics of art'But the difficulty is to remove the prejudices communication and critical potential.     

Punctual selves,punctual death and the health-conscious cogito: Descartes’ dead bodies

Abstract

This paper reflects critically on the late-modern obsession with health by presenting Descartes as an almost ideal type of the health-conscious subject. Descartes’ life, works and death are interpreted from the unlikely combination of the theoretical perspectives of Charles Taylor and Jean Baudrillard. Despite significant differences, both of these theorists rely heavily on Weber's concept of disenchantment, and each develops a ‘punctual’ concept in their analysis of modernity. Specifically, the paper combines Taylor's ‘punctual self’, which can remake itself at will, with Baudrillard's ‘punctual death’, which presents death as a meaningless terminus. Viewing Descartes through these punctual concepts, it becomes clear that the extensive anatomical investigations he conducted throughout his career shaped his uniquely modern stance towards death and health. However, Descartes maintained an ambivalent relationship with traditional conceptions of death and health, which prevented him from fully embracing modern health-consciousness. The paper concludes with a reconsideration of Descartes’ ‘premature’ death, which invites critical reflection on the role that the predictable behaviour of health-conscious subjects plays in the ever-expanding biomedical order.