Samir Gandesha – författare

Concerns over the rise of fascism have been preoccupied with the Trump presidency and the Brexit vote in the UK, yet, globally, we are witnessing a turn towards anti-democratic and illiberal forces.From the tragic denouement of the Egyptian Revolution to the consolidation of the so-called Gujarat Model in India under the leadership of Prime Minister Narendra Modi and the consolidation of the power of Turkish President Recep Tayyip Erdogan, to the recent election of Jair Bolsonaro in Brazil, fascist ideology, aesthetics and fascist personalities appear across the globe.Spectres of Fascism makes a significant contribution to the unfolding discussion on whether what we are witnessing today is best understood as a return to classic twentieth-century ‘fascism,’ or some species of what has been called ‘post-fascism.’ Applying a uniquely global perspective, it combines analyses of historical contexts, theoretical approaches and contemporary geopolitics.

Concerns over the rise of fascism have been preoccupied with the Trump presidency and the Brexit vote in the UK, yet, globally, we are witnessing a turn towards anti-democratic and illiberal forces.From the tragic denouement of the Egyptian Revolution to the consolidation of the so-called Gujarat Model in India under the leadership of Prime Minister Narendra Modi and the consolidation of the power of Turkish President Recep Tayyip Erdogan, to the recent election of Jair Bolsonaro in Brazil, fascist ideology, aesthetics and fascist personalities appear across the globe.Spectres of Fascism makes a significant contribution to the unfolding discussion on whether what we are witnessing today is best understood as a return to classic twentieth-century ‘fascism,’ or some species of what has been called ‘post-fascism.’ Applying a uniquely global perspective, it combines analyses of historical contexts, theoretical approaches and contemporary geopolitics.

Hannah Arendt and Theodor W. Adorno, two of the most influential political philosophers and theorists of the twentieth century, were contemporaries with similar interests, backgrounds, and a shared experience of exile. Yet until now, no book has brought them together. In this first comparative study of their work, leading scholars discuss divergences, disclose surprising affinities, and find common ground between the two thinkers. This pioneering work recovers the relevance of Arendt and Adorno for contemporary political theory and philosophy and lays the foundation for a critical understanding of political modernity: from universalistic claims for political freedom to the abyss of genocidal politics.

Hannah Arendt and Theodor W. Adorno, two of the most influential political philosophers and theorists of the twentieth century, were contemporaries with similar interests, backgrounds, and a shared experience of exile. Yet until now, no book has brought them together. In this first comparative study of their work, leading scholars discuss divergences, disclose surprising affinities, and find common ground between the two thinkers. This pioneering work recovers the relevance of Arendt and Adorno for contemporary political theory and philosophy and lays the foundation for a critical understanding of political modernity: from universalistic claims for political freedom to the abyss of genocidal politics.

This book explores the tradition, impact, and contemporary relevance of two key ideas from Western Marxism: Georg Lukács's concept of reification, in which social aspects of humanity are viewed in objectified terms, and Guy Debord's concept of the spectacle, where the world is packaged and presented to consumers in uniquely mediated ways. Bringing the original, yet now often forgotten, theoretical contexts for these terms back to the fore, Johan Hartle and Samir Gandesha offer a new look at the importance of Western Marxism from its early days to the present moment-and reveal why Marxist cultural critique must continue to play a vital role in any serious sociological analysis of contemporary society.

The whole of Marx’s project confronts the narrow concerns of political philosophy by embedding it in social philosophy and a certain understanding of the aesthetic. From those of aesthetic production to the "poetry of the future" (as Marx writes in the Eighteenth Brumaire), from the radical modernism of bourgeois development to the very idea of association (which defined one of the main lines of tradition in the history of aesthetics), steady references to Dante, Shakespeare and Goethe, and the idea that bourgeois politics is nothing but a theatrical stage: the aesthetic has a prominent place in the constellation of Marx's thought. This book offers an original and challenging study of both Marx in the aesthetic, and the aesthetic in Marx. It differs from previous discussions of Marxist aesthetic theory as it understands the works of Marx themselves as contributions to thinking the aesthetic. This is an engagement with Marx’s aesthetic that takes into account Marx’s broader sense of the aesthetic, as identified by Eagleton and Buck-Morss – as a question of sense perception and the body. It explores this through questions of style and substance in Marx and extends it into contemporary questions of how this legacy can be perceived or directed analytically in the present.By situating Marx in contemporary art debates this volume speaks directly to lively interest today in the function of the aesthetic in accounts of emancipatory politics and is essential reading for researchers and academics across the fields of political philosophy, art theory, and Marxist scholarship.

The whole of Marx’s project confronts the narrow concerns of political philosophy by embedding it in social philosophy and a certain understanding of the aesthetic. From those of aesthetic production to the "poetry of the future" (as Marx writes in the Eighteenth Brumaire), from the radical modernism of bourgeois development to the very idea of association (which defined one of the main lines of tradition in the history of aesthetics), steady references to Dante, Shakespeare and Goethe, and the idea that bourgeois politics is nothing but a theatrical stage: the aesthetic has a prominent place in the constellation of Marx's thought. This book offers an original and challenging study of both Marx in the aesthetic, and the aesthetic in Marx. It differs from previous discussions of Marxist aesthetic theory as it understands the works of Marx themselves as contributions to thinking the aesthetic. This is an engagement with Marx’s aesthetic that takes into account Marx’s broader sense of the aesthetic, as identified by Eagleton and Buck-Morss – as a question of sense perception and the body. It explores this through questions of style and substance in Marx and extends it into contemporary questions of how this legacy can be perceived or directed analytically in the present.By situating Marx in contemporary art debates this volume speaks directly to lively interest today in the function of the aesthetic in accounts of emancipatory politics and is essential reading for researchers and academics across the fields of political philosophy, art theory, and Marxist scholarship.

This book collects Adornian contributions on different trends, genres and artists belonging to the broad and complex and in-itself-articulated field of popular music.  On the occasion of the 50th anniversary of Adorno’s death, this book aims to represent an important contribution for the international community of Adorno scholars and, additionally, for scholars of both philosophy and musicology in general, in order to assess and celebrate the persistent actuality of Adorno’s contribution to the understanding of popular music in the context of the dynamics and processes of the culture industry. But the book also aims to critically rethink some of the main concepts and themes of Adorno's influential philosophy of music and thus to develop it at a further level, also intersecting it with other philosophical perspectives or adapting it when necessary to the partially changed conditions of popular music in our time in comparison to his epoch.

If 2019 was an "Adornian year" because of the 50th anniversary of the untimely death of Theodor W. Adorno in August 1969, also 2020 has been an "Adornian year" because of the 50th anniversary of the posthumous publication of Adorno’s great but unfinished masterpiece Aesthetic Theory, first published in 1970. Adorno’s intellectual legacy is still alive today and indeed important for the conceptual tools as it still provides to develop a critical, active and negative (instead than acritical, passive and affirmative) relationship with the real. In the vast and complex corpus of Adorno’s entire philosophical oeuvre, his aesthetic theory deserves an especially close and renewed attention today for the variety of intellectual provocations that are still richly offered to us in order to critically understand our age.