New Left Review: September-October 2011
Wolfgang Streeck: The Crises of Democratic Capitalism
The roots of today’s Great Recession are usually located in the financial excesses of the 1990s. Wolfgang Streeck traces a much longer arc, from 1945 onwards, of tensions between the logic of markets and the wishes of voters—culminating, he argues, in the international tempest of debt that now threatens to submerge democratic accountability altogether beneath the storm-waves of capital.
Dylan Riley: Tony Judt: A Cooler Look
Few Anglophone intellectuals have received such posthumous acclaim as the Director of the Remarque Institute, leading contributor to the New York Review of Books, and late champion of social-democracy. Regularly compared to George Orwell, if not Isaiah Berlin, does any careful examination of his oeuvre sustain such panegyrics?
William Davies: The Political Economy of Unhappiness
As the bill for mental health problems—iconically, depression—climbs, economists seek to quantify the efficiency costs of unhappiness. In such quests, capitalism is reverting to classical psychologies of well-being, the better to neutralize the meaning of the new forms of illness—and its authorship of them.
Mark Elvin: China’s Multiple Revolutions
Beneath the dramatic social, political and military turmoil of China’s last two centuries, Mark Elvin suggests, lay a series of existential crises amid the collapse of established pillars of authority, whose most vivid expression can be found in two largely forgotten novels of the 1920s and 1970s.
Andy Merrifield: Crowd Politics, Or, ‘Here Comes Everybuddy’
From Joyce to Lefebvre, sign-posts to a morphology of the demonstration in the age of Twitter and Facebook. Is the city still the indispensable arena of any collective uprising, and what would it mean to claim a ‘right’ to it?
Jacob Emery: Art of the Industrial Trace
Looking down at man-made landscapes from an airplane window: entry-point to an allegorical materialism, mapping art onto its double in production? The role of the indexical in earthworks, crop art and aerial photography, and the limits it places on allegory.
via New Left Review.