Alain Badiou: A Critical Introduction (Modern European by Jason Barker

By Jason Barker

'[Badiou's conception] enacts a go back to full-blown philosophy that moves as a thunder into the morass of postmodernist sophisms and platitudes. . . . [Badiou] goals on the very middle of politically right 'radical' intellectuals, undermining the principles in their mode of life!' Slavoj Zizek, Professor on the Institute of Sociology, college of Ljubljana

Alain Badiou is swiftly rising as some of the most radical and influential philosophers of our time. Badiou opposes the modern aid of philosophy to not anything yet a question of language and untimely bulletins of the tip of philosophy and therefore units himself opposed to either analytic and continental modes of philosophy. environment the conventional platonic issues of philosophy, fact and being, opposed to the trendy sophists of postmodernism, Badiou has articulated a strong systematic philosophy with profound moral and political results. this is often the 1st creation to Alain Badiou in English and is mainly well timed because the variety of Badiou's works in translation is quickly expanding and his famous person keeps to upward thrust. Giving a transparent review of Badiou's paintings and the highbrow and political context from which it emerges, Jason Barker's e-book is determined to turn into the normal paintings on Badiou for a few years to come.

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Extra resources for Alain Badiou: A Critical Introduction (Modern European Thinkers)

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And each one has consequences. Someone who credits him with a moment of charity might not be surprised when he begs his place on the boat because ‘she has no one but me’ – though it is a straight lie – but what about when, once on the lifeboat, he unceremoniously dumps the child on another passenger? An audience that has accrued steadily an image of Cal as a callous, arrogant man who thinks his wealth entitles him to whatever he desires will find confirmation of their filling of that blank – and of course more is involved in that than simply intra-filmic knowledge.

Behind these stands an issue about what is the point of analysing films. 1 This book aims to prove in action the power of its approach to films, through closely worked examples. In that sense, my project is very similar to hers: let the analyses be their own justification. And insofar as the analyses go, it seems to me that she makes an unanswerable case. The problem is where she stops. To show how this occurs, I have to address her opening account of her method, which she calls ‘Neo-Formalist’.

On that basis, the elitist assumptions which have slid in may well pass muster. Imagine an abstract viewer, lacking social and historical location, having no qualities other than a general ability to follow filmic cues, and – most curiously – seeming to be entirely individualised: such a lonely contemplative creature may be a nice figure for film theory, but if s/he can never connect with the reactions of actual people, s/he is surely a hollow, straw person. If actual people are not to figure, why do film analysis?

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