SUSAN BUCK-MORSS'S RECENT OFFERING, Hegel, Haiti, and Universal History, takes critical aim at two targets: what she identifies as Eurocentric models of universal history, on the one hand, and, on the other, the rejection of any notion of universality whatsoever in favor of the postmodernist "plurality of alternative models" (ix). What she proposes instead is "a universal history worthy of the name" (x), by which she means one that does not give the European Enlightenment and its direct heirs a monopoly on the historical project of freedom. It is refreshing to see the false choice of Eurocentrism vs. postmodernist pluralism identified as such, but if Buck-Morss opposes such a false choice, she fails to register and critique it as a contemporary historical symptom itself. She thus ends up with a theory that is universal in name, but which remains essentially postmodernist in content.
A response to David Harvey and James Heartfield Ian Morrison THE LAST FORTY YEARS have been conceptually bewildering for the Left. The withering of working class movements and the rise of the new social movements have coincided with a global shift away from national state-centric (or "Fordist") modes of accumulation towards a more "global," neo-liberal capitalism.
Sunit Singh DER BAADER-MEINHOF KOMPLEX (2008) dramatizes the violence that the Leftist group the Rote Armee Fraktion ("Red Army Faction" [RAF] aka the Baader-Meinhof) wreaked across West German cities in the 1970s. The film documents, or, rather, reenacts their streak of violence that started with petty vandalism against storefronts in Frankfurt but that soon escalated into more serious acts.
In its May 2008 issue, the most commercially successful art criticism publication, Artforum, dedicated its pages to the commemoration of the fortieth anniversary of May 1968. The publication presented contributions by many of the leading figures in contemporary critical theory, all of whom have a distinctive sense of indebtedness to that brief period four decades ago, dubbed by Herbert Marcuse as the “Great Refusal.”
Persepolis is a film that does not take itself seriously enough. This is not a comment on the unadorned animation style. Nor am I referring to the narrative of the protagonist: a story of a girl raised in a left-wing milieu that succeeds in arousing quite a bit of empathy in the audience. It is the film’s treatment of depoliticization as a fait accompli and its persistent retreat to the safety of the personal that make it a fascinating symptom of politics today. Read politically, Persepolis is a trenchant, if unreflective, look into the fate of contemporary political life.