No figure among the western Marxist theoreticians has loomed larger in the postwar period than Louis Althusser. A rebel against the Catholic tradition in which he was raised, Althusser studied philosophy and later joined both the faculty of the Ecole normal superieure and the French Communist Party in 1948. Viewed as a "structuralist Marxist," Althusser was as much admired for his independence of intellect as he was for his rigorous defense of Marx. The latter was best illustrated in For Marx (...) (1965), and Reading Capital (1968). These works, along with Lenin and Philosophy (1971) had an enormous influence on the New Left of the 1960s and continues to influence modern Marxist scholarship. This classic work, which to date has sold more than 30,000 copies, covers the range of Louis Althusser's interests and contributions in philosophy, economics, psychology, aesthetics, and political science. Marx, in Althusser's view, was subject in his earlier writings to the ruling ideology of his day. Thus for Althusser, the interpretation of Marx involves a repudiation of all efforts to draw from Marx's early writings a view of Marx as a "humanist" and "historicist." Lenin and Philosophy also contains Althusser's essay on Lenin's study of Hegel; a major essay on the state, "Ideology and Ideological State Apparatuses," "Freud and Lacan: A letter on Art in Reply to Andre Daspre," and "Cremonini, Painter of the Abstract." The book opens with a 1968 interview in which Althusser discusses his personal, political, and intellectual history. (shrink)

For Murray Edelman, political realities are largely inaccessible to the public, save by the mediation of symbols generated by elites. Such symbols often create the illusion of political solutions to complex problems—solutions devised by experts, implemented by effective leaders, and undemonstrably successful in their results.

Over the course of his career, Murray Edelman made one of the few sustained attempts by a theoretically inclined political scientist to explore the effects of the public's overwhelming ignorance of politics. In his early work, he focused on political elites? manipulation of an ignorant public through the deployment of symbolism. In his later work, however, he suggested that even elites are the puppets of their ideologies. His early work has been well received; his later work has gone largely unremarked. (...) The reason may have to do with the very thing that Edelman was, in his later work, addressing: the ideological biases of his politically elite audience. (shrink)

Popular film has become a significant venue for meaning‐making in modern society. Like religion, film provides models for understanding and behaving within the social world. Like religion, film reinforces this content through emotional resonance. Myths slip under a viewer's intellectual defenses in the non‐threatening guise of entertainment. In a mainstream culture skeptical of religion, film presents an alternative mechanism for the transmission and processing of “religious” ideas and ideals.

Murray Edelman's work raised significant theoretical and methodological questions regarding the symbolic nature of politics, and specifically the role played by non‐rational beliefs (those that lack real‐world grounding) in the shaping of political preferences. According to Edelman, beneath an apparently functional and accountable democratic state lies a symbolic system that renders an ignorant public quiescent. The state, the media, civil society, interpersonal relations, even popular art are part of a mass spectacle kept afloat by empty symbolic beliefs. However suggestive it (...) is, the weaknesses of Edelman's theoretical and methodological approach, and the relative strengths of more recent research on the politics of cultural symbols, render Edelman's work unable to serve as either model or springboard for the contemporary study of political symbols. (shrink)

In this provocative and original work, Slavoj Zizek takes a look at the question of human agency in a postmodern world. From the sinking of the Titanic to Hitchcock's Rear Window, from the operas of Wagner to science fiction, from Alien to the Jewish Joke, the author's acute analyses explore the ideological fantasies of wholeness and exclusion which make up human society. Linking key psychoanalytical and philosophical concepts to social phenomena such as totalitarianism and racism, the book explores the political (...) significance of these fantasies of control. In so doing, The Sublime Object of Ideology represents a powerful contribution to a psychoanalytical theory of ideology, as well as offering persuasive interpretations of a number of contemporary cultural formations. -- Back cover. (shrink)