The study discusses the political in Jean-Paul Sartre's work, focusing principally on the conceptual constructions through which the agent acting in a political action situation can be interpreted from the texts. Sartre's conception of the political agent is discussed against the background of the operational concepts and the limit-situation as an ideal type action situation construed as conceptual devices in the work for showing both Sartre's fashion of using and of construing concepts. In addition certain metaphors such as theater, play (...) and mask are used for highlighting the political reading of the texts. The theme of the agent, in one form or another, runs through Sartre's entire work. It is a theme which largely gathers together the different conceptual devices and different perspectives he takes in his work. In this study, through concepts and figures interpreted from the texts, especially from Critique de la raison dialectique, itis shown that Sartre's construction of the agent forms a challenging attempt of a revised view into the classical concept of subject. It is also shown that his agent is both a political and a moral actor which cannot be reduced to a subject or to a person, but can be described as an actor, as a player of the political condition, and as a user of political action strategies through the concepts of limit, change and non-identity. Sartre's central point of view of action is that of the agent acting in an interior space of action in a construed world. This forwards a view within which the perspective of production forms a framework for the argumentation where the main themes through which the portrait of the agent can be drawn are temporality, interiority, exteriority and subjectivity. The agent of the Critique as a non-identifiable actor acting in a temporally and dimensionally produced action situation is produced in the process of internalization and externalization of the historical and inherently political condition of being condemned to freedom. In the study it is shown that it is this agent through whom the political comes to the world and who is condemned also to politics. It is also shown that this agent forms a perspective of interpretation as well to Sartre's plays as to the central concepts of his morals. (shrink)

This article argues that Walter Benjamin’s aesthetico-political philosophy cannot be understood without reconsidering Hamlet. It elucidates Benjamin’s Hamlet via his theory of Baroque “mourning” and its counter-measure, the “Saturnine Dialectic.” It likewise offers an analysis of the 1877 Herman Ulrici edition of Hamlet, the German edition Benjamin cites exclusively. This analysis reconciles the differences in the secondary literature regarding Benjamin’s Hamlet, expounding upon the edition’s singular use of the word “foreordination”. Finally, by rereading Benjamin’s Hamlet through Carl Schmitt’s Hamlet or (...) Hecuba, it argues that Fortinbras’s succession, effectuated by Hamlet’s dying voice, conditions the repetition of sovereignty in Hamlet, betraying the emergence of the new. Despite this betrayal, the revolutionary potential that is sunken into the content of Hamlet is disjunctively brought to the surface by examining the “dialectical image” of Laertes’s rebellion, rescuing what I term the revolutionary-new from the jaws of defeat. (shrink)

This article is an attempt to understand the increasing profile of complexity theory as a geography of dissemination. In the first part I suggest that complexity theory, itself a rhetorical hybrid, takes on new meanings as it circulates in and through a number of actor-networks and, specifically, global science, global business and global New Age. As complexity theory circulates in these networks, so it encounters new conditions, which generate new hybrid theoretical forms. In the second part of the article, I (...) consider how complexity theory might be interpreted as the emergence of a new structure of feeling in Euro-American societies, which frames the future as open and full of productivity. The conclusion offers some words of warning. (shrink)

Walter Benjamin’s writings on fashion need to be read as engagements with the problem of historical time and a related politics of time. The aim of this article is to develop this position. Its point of orientation is Thesis XIV from the Theses on the Philosophy of History. What is argued is that close attention to the temporality of change and novelty within fashion may allow an insight into a conception of interruption and the ‘new’, however, it cannot yield a (...) politics. Moreover, the link between fashion and utopianism allows for the development of a critique of the utopian dimension of Benjamin’s thought. The basis of that critique is the inherent politics of time in his own writings. (shrink)

Contemporary capitalism is becoming increasingly metaphysical. The article contrasts a ‘physical’ capitalism – of the national and manufacturing age – with a ‘metaphysical capitalism’ of the global information society. It describes physical capitalism in terms of (1) extensity, (2) equivalence, (3) equilibrium and (4) the phenomenal, which stands in contrast to metaphysical capitalism’s (1) intensity, (2) inequivalence (or difference), (3) disequilibrium and (4) the noumenal. Most centrally: if use-value or the gift in pre-capitalist society is grounded in concrete inequivalence, and (...) exchange-value in physical capitalism presumes abstract equivalence, then value in contemporary society presumes abstract inequivalence. The article argues that the predominantly physical causation of the earlier epoch is being superseded by a more metaphysical causation. This is discussed in terms of the four Aristotelian causes. Thus there is a shift in efficient cause from abstract homogenous labour to abstract heterogeneous life. Material cause changes from the commodity’s units of equivalence to consist of informational units of inequivalence. Formal cause takes place through the preservation of form as a disequilibriate system through operations of closure. These operations are at the same time information interchanges with a form’s environment. Final (and first) cause becomes the deep-structural generation of information from a compressed virtual substrate. This may have implications for method in the social and human sciences. The article illustrates this shift with a brief discussion of global finance. (shrink)

This piece reconstructs and reflects upon the terms of the theoretical projection underlying Max Tomba’s book,Marx’s Temporalities, with particular reference to his use of the concepts of multiple temporalities and temporal layers. Tomba’s use of these concepts, it is argued, productively relocates Marx’s writings within the framework of the twentieth-century philosophy of time. However, Tomba’s dependence upon received versions of these concepts, untransformed, reproduces theoretical problems implicit within them, which have been intensified by recent developments within global capital. The application (...) of these concepts to an understanding of the historical present, understood as a situation of globally disjunctive contemporaneity, is seen to be, in part, vitiated by their embeddedness within an increasingly exhausted past. (shrink)

Responding to Dipesh Chakrabarty’s “The Climate of History: Four Theses,” Sandeep Banerjee argues that Chakrabarty treats nature as a thing rather than a relation. Reading the Anthropocene as a dialectical relation, Banerjee argues for an emergent “planetary consciousness” where the planet itself becomes the site of the labor/capital struggle.

This article revisits Edmund Husserl’s philosophy of time in light of the modern standardisation of time. After assessing Husserl’s innovative analysis of the experience of time and raising key issues pertaining to his derivation of objective time from an originary ‘absolute flux of consciousness’, the article addresses potential relationships between this conception of time and the historically unique experience of time based in the rise of modern clock-time. Drawing on insights from the literature within the sociology of time, the article (...) concludes that Husserl’s conception of time both reproduces and rejects certain features of modern time relations. (shrink)

Jean-Francois Lyotard's essay `Adorno as the Devil' had argued that Theodor Adorno's Philosophy of Modern Music was a `diabolic' work of `negative theology' which attributed to Schoenberg's music a secret redemptive power. However, in his later writings, such as the essays in The Inhuman, Lyotard has himself moved close to a `negative theological' position with respect to modernity, time, aesthetics and music. The paper uses the occasion of Lyotard's own theologically inspired essays on music, `God and Puppet' and `Obedience', to (...) re-evaluate the following: Adorno's claims that music transcends mere language and `reaches' for the theological; and more general claims within modern western culture on behalf of music's ability to express the inexpressible. The argument is that the music as negative theology position is not inherently metaphysical but rather that it reflects the importance of the `unsayable' to modern conceptions of reason. In resisting the `closure' of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present within modern forms of time. In other words, negative theology is not the discourse of the devil; it is the impossible discourse of western reason and its internal fracturing. (shrink)

This text was first published in Geografiska Annaler, Series B, Human Geography, vol. 90 , March 2008 : 1–15. We thank gratefully Professor Robert Dodgshon for granting us the permission to reproduce it. ABSTRACT : From the moment it began to engage with time in a considered way, human geography has employed a variety of analytical and conceptual approaches to it. Recent work especially has greatly extended the range of these different approaches by stressing the innate - Géographie – Nouvel (...) article. (shrink)

Davis Smith-Brecheisen reviews Annie McClanahan’s Dead Pledges: Debt, Crisis, and Twenty-First-Century Culture.