Alfred Sohn-Rethel did not just elaborate a materialist theory of knowledge, he also introduced the term ‘real abstraction’ into Marxist debate. However, he locates the origin of commodity abstraction solely in the sphere of circulation, conceiving of production itself as a mere metabolism with nature. This conception, in which the critique of capitalism aims exclusively at distribution, and which rejects the Marxian concept of ‘abstract labour’, remains widespread. It is our express intention here to undertake a critique of such a (...) conception for the benefit of a critique of the very mode of capitalist production. (shrink)

This article tries to resume Karl Marx’ concept of “commodity fetishism”, not just as a phenomenon of conscience, but as being the real heart of capitalist society based on abstract labor and value, money and commodity. This concept is often misunderstood, as well as the concept of “narcissism”. Following Freud and Christopher Lasch, the article underlines the sociological side of narcissism and how this pathology is the psychological counterpart to commodity fetishism, forming thus the typical subjectivity of consumerism.

The anthology makes an important contribution to the research topic Literature and Knowledge and picks up on the current narratological discussion on literary characters. The key question addressed in this volume is the function of knowledge in the production and reception of literary texts. Literary studies on works from different national literatures and periods are supplemented by insightful contributions from history, linguistics and philosophy, illuminating the discussion for the first time from a multilayered perspective.".

This is the first serious intellectual biography of Guy Debord, prime mover of the Situationist International (1957-1972) and author of _The Society of the Spectacle_, perhaps the seminal book of May 1968 in France. Anselm Jappe rejects recent attempts to set Debord up as a "postmodern" icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of _History and Class Consciousness _(1923). Neither hagiographical nor sectarian, (...) _Guy Debord_ places its subject squarely in his historical context: the politicizing Letterist and Situationist "anti-artists" who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's "last avant-garde" on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists. (shrink)