Morton Schoolman – författare

Morton Schoolman develops a fascinating and entirely new interpretation of the work of Horkenheimer and Adorno.

Morton Schoolman develops a fascinating and entirely new interpretation of the work of Horkenheimer and Adorno.

William Connolly, one of the best-known and most important political theorists writing today, is a principal architect of the “new pluralism.” In this volume, leading thinkers in contemporary political theory and international relations provide a comprehensive investigation of the new pluralism, Connolly’s contributions to it, and its influence on the fields of political theory and international relations. Together they trace the evolution of Connolly’s ideas, illuminating his challenges to the “old,” conventional pluralist theory that dominated American and British political science and sociology in the second half of the twentieth century. The contributors show how Connolly has continually revised his ideas about pluralism to take into account radical changes in global politics, incorporate new theories of cognition, and reflect on the centrality of religion in political conflict. They engage his arguments for an agonistic democracy in which all fundamentalisms become the objects of politicization, so that differences are not just tolerated but are productive of debate and the creative source of a politics of becoming. They also explore the implications of his work, often challenging his views to widen the reach of even his most recently developed theories. Connolly’s new pluralism will provoke all citizens who refuse to subordinate their thinking to the regimes in which they reside, to religious authorities tied to the state, or to corporate interests tied to either. The New Pluralism concludes with an interview with Connolly in which he reflects on the evolution of his ideas and expands on his current work.Contributors: Roland Bleiker, Wendy Brown, David Campbell, William Connolly, James Der Derian, Thomas L. Dumm, Kathy E. Ferguson, Bonnie Honig, George Kateb, Morton SchoolmanMichael J. Shapiro, Stephen K. White

In A Democratic Enlightenment Morton Schoolman proposes aesthetic education through film as a way to redress the political violence inflicted on difference that society constructs as its racialized, gendered, Semitic, and sexualized other. Drawing on Voltaire, Diderot, and Schiller, Schoolman reconstructs the genealogical history of what he calls the reconciliation image-a visual model of a democratic ideal of reconciliation he then theorizes through Whitman's prose and poetry and Adorno's aesthetic theory. Analyzing The Help (2011) and Gentleman's Agreement (1947), Schoolman shows how film produces a more advanced image of reconciliation than those originally created by modernist artworks. Each film depicts violence toward racial and ethnic difference while also displaying a reconciliation image that aesthetically educates the public about how the violence of constructing difference as otherness can be overcome. Mounting a democratic enlightenment, the reconciliation image in film illuminates a possible politics for challenging the rise of nationalism's violence toward differences in all their diversity.

In A Democratic Enlightenment Morton Schoolman proposes aesthetic education through film as a way to redress the political violence inflicted on difference that society constructs as its racialized, gendered, Semitic, and sexualized other. Drawing on Voltaire, Diderot, and Schiller, Schoolman reconstructs the genealogical history of what he calls the reconciliation image-a visual model of a democratic ideal of reconciliation he then theorizes through Whitman's prose and poetry and Adorno's aesthetic theory. Analyzing The Help (2011) and Gentleman's Agreement (1947), Schoolman shows how film produces a more advanced image of reconciliation than those originally created by modernist artworks. Each film depicts violence toward racial and ethnic difference while also displaying a reconciliation image that aesthetically educates the public about how the violence of constructing difference as otherness can be overcome. Mounting a democratic enlightenment, the reconciliation image in film illuminates a possible politics for challenging the rise of nationalism's violence toward differences in all their diversity.