In this major new work by one of the leading writers on Utopian Studies, Ruth Levitas argues that a prospective future of ecological and economic crises poses a challenge to the utopian imaginary, to conceive a better world and alternative future. Utopia as Method does not construe utopia as goal or blueprint, but as a holistic, reflexive method for developing what those possible futures might be. It begins by treating utopia as the quest for grace, through a hermeneutics that recovers (...) the utopian meaning in our culture, explored through colour and music. Moving from the existential to the social, it draws on H.G. Wells's claim that the creation of utopias is the distinctive and proper method of sociology, and on the tentative reappearance of utopia in contemporary social theory. It proposes a constructive method, the Imaginary Reconstitution of Society. This fusion of explicitly normative social theory and analytic critique rehabilitates utopia as an integral part of sociology, and offers a means of collective engagement in shaping a better tomorrow."--Publisher's description. (shrink)

(2000). For Utopia: The (limits of the) Utopian function in late capitalist society. Critical Review of International Social and Political Philosophy: Vol. 3, The Philosophy of Utopia, pp. 25-43.

This introductory article discusses the contributions to this number in the light of some general issues arising out of recent writing on utopia. It notes the wide variety of views on the question of definition of utopia, ranging from the anti-utopian dismissal of it as totalitarianism to a broad and flexible vehicle of desire. It traces the shifting accents of utopia consequent on the move beyond modernity - a shift from time to space and from content to process. Only a (...) flexible approach reflected in the variety of articles in this collection can offer glimpses of the most elusive utopia, the transcendence of loss and longing. (shrink)

This essay reviews David Halpin's Hope and Education, which aims to bring theories of hope and utopia to bear on the practical processes of schooling in contemporary Britain, and which sees education as an intrinsically hopeful and future-oriented process. It argues that the properly utopian character of Halpin's project is subverted by his espousal of a currently fashionable pragmatism, represented by Richard Rorty and Anthony Giddens, which insists that ‘good’ utopias must be realistic and practical. Utopian hope for a better (...) world, in which a transformed educational process will be central, is ambushed by this pragmatism and reduced to managerialism. (shrink)

This paper explores the tension between pragmatism and utopia, especially in the concept of "realistic utopianism". It argues that historically, the pragmatic and gradualist rejection of utopia has been anti-utopian in effect, notably in the case of Popper. More recent attempts to argue in favour of "realistic utopianism" or its equivalent, by writers such as Wallerstein and Rorty are also profoundly anti-utopian, despite Rorty's commitment to "social hope". They co-opt the terminology of utopia to positions that are antagonistic to radical (...) alterity. But this is not a necessary response to the utopia/pragmatism tension: Unger, who is explicitly opposed to utopia, in fact proffers a more sympathetic resolution based on the merits of vision, social improvization and collective learning. These may lie closer to the core of the utopian project as a vehicle for the education of desire than Unger himself recognizes. (shrink)

ABSTRACT Schubert’s lied An die musik celebrates music’s capacity to transport the listener or performer into a better world. That capacity renders music utopian for it is this better world and the experience of its prefiguration that is the defining character of utopianism. This article explores the ways in which music may be distinctive in its utopian force, and thus suggests several approaches to researching the underdeveloped area of music and utopia. It draws particularly on Ernst Bloch’s analysis and on (...) work by Daniel Barenboim and Edward Said to argue that there are two distinct aspects to the ‘special case’ for music: abstraction or unutterability, and performance. Neither of these elements is straightforward, since neither is peculiar to music, although they are arguably present in music in distinct ways, rendering it qualitatively different from other forms of utopian expression. (shrink)

The year 2016 has seen a spate of Utopia-themed events triggered by the quincentenary of the publication of Thomas More’s Utopia. Suddenly, this little book, published in Latin in 1516, seems to have a new and wide following. In the United Kingdom, Somerset House has a year-long series on Utopia with a mainly artistic focus; the literary festival of the London School of Economics celebrated Utopia; the Coleridge Lectures in Bristol took Utopia as their title; and there have been events (...) at Kings Place, in Antwerp, and in Lisbon. There is an irony here. While Utopia matters a great deal, Utopia does not. Hitherto More’s text has been read almost solely by scholars and students, as indeed he would have wished. Having... (shrink)