By Gregory Elliott

ISBN-10: 0631188061

ISBN-13: 9780631188063

Louis Althusser used to be most likely the most complicated - and the main debatable - of the "maitres de penser" to emerge from the turbulent Parisian highbrow scene of the Sixties. in the course of an extended profession, Althusser completed huge reputation, notoriety and, ultimately, effacement. but his paintings continues to be a massive aspect in modern philosophy and cultural critique. This quantity, timed to coincide with the English-language ebook of Althusser's autobiography, "The destiny Lasts a protracted Time", assesses the significance and impression of "Althusserianism", either on the subject of, and past, the controversies of his political occupation and the occasions of his own biography. one of many primary goals of the e-book is to situate Althusser and his texts in the wider histories and cultures to which they belong, drawing on individuals from a variety of backgrounds and geographical destinations. therefore E.J. Hobsbawm contextualizes Althusser's Marxism; Pierre Villar assesses Althusserian historiography; Paul Ricoeur probes Althusser's idea of ideology; Axel Honneth articulates his relation to the central rival faculties of Marxism within the Sixties and Seventies; Peter Dews examines his family members to the structuralist tuition; David Macey casts a sceptical eye over his alliance with Lacan; Francis Mulhern explores the range of Anglophone "Althusserianism"; and Gregory Elliott responds to Althusser's research of his personal case background. The publication concludes with a bibliography of Althusser's research of his personal case background.

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Extra resources for Althusser: A Critical Reader (Blackwell Critical Readers)

Example text

Repository of the bliss she cannot keep, released from that open mouth, this voice-phallus is his who views it. He can even seem to grasp it, running his gaze up along the thyrsus of the conductor's baton that, doubling the painter's brush, is held by an anonymous masculine hand at, or into, the bottom left margin of the image. And what, then, of the female spectators—those not addressed? docId=ft396nb1pw&chunk.... gaze like a man? Or, far better, should they find the singer's voice in their own throats?

She hands each man his own facsimile of the shield of Perseus, so good a ― 104 ― reproduction it almost seems authentic. Whatever women may do, Woman must be placed in positions where her lack will show. The only problem is that women are not Woman. If a particular woman balks at her assignment, the man who requires it feels justified in forcing her—hand. But good girls are forced, too, as abused women know. Since women must display lack on Woman's behalf, the mere absence of that display can seem to mandate it.

Butterfly's seaward gaze is generally directed at the audience—an audience whose sea of faces necessarily gazes back at her with the poisonous knowledge of Pinkerton's racism and callousness, but an audience who also receives the sensuous-sentimental pleasure of "Un bel di" in a continuous tributary stream. Sadism certainly demands this story. However compassionate it may feel, the audience occupies a sadistic position here—just as Kate Pinkerton does in the final act, when she, the ― 127 ― American wife, gives Butterfly sympathy but still takes her child.

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