Bertell Ollman has been hailed as "this country's leading authority on dialectics and Marx's method" by Paul Sweezy, the editor of Monthly Review and dean of America's Marx scholars. In this book Ollman offers a thorough analysis of Marx's use of dialectical method. Marx made extremely creative use of dialectical method to analyze the origins, operation, and direction of capitalism. Unfortunately, his promised book on method was never written, so that readers wishing to understand and evaluate Marx's theories, or to revise or use them, have had to proceed without a clear grasp of the dialectic in which the theories are framed. The result has been more disagreement over "what Marx really meant" than over the writings of any other major thinker. In putting Marx's philosophy of internal relations and his use of the process of abstraction--two little-studied aspects of dialectics--at the center of this account, Ollman provides a version of Marx's method that is at once systematic, scholarly, clear and eminently useful. Ollman not only sheds important new light on what Marx really meant in his varied theoretical pronouncements, but in carefully laying out the steps in Marx's method makes it possible for a reader to put the dialectic to work in his or her own research. He also convincingly argues the case for why social scientists and humanists as well as philosophers should want to do so.

Offers students a basic introduction to dialectics as well as a challenging exposition of its application to a wide range of social and historical phenomena. In this volume, Bertell also provides six in-depth case studies of dialectical method in action.

Revised throughout with an entirely new chapter, "In Defense of Internal Relations," and with replies to critical comments on the 1st edition, which the N.Y. Review of Books called "a remarkable book...brilliant and illuminating."

Marxist Theory of Class for a Skeptical World is a critique of some of the influential radical theories of class, and presents an alternative approach to it. This book critically discusses Analytical Marxist and Post-structuralist Marxist theories of class, and offers an alternative approach that is rooted in the ideas of Marx and Engels as well as Lenin and Trotsky. It presents a materialist-dialectical foundation for class theory, and conceptualizes class at the trans-historical level and at the level of capitalism. It shows that capitalism is an objectively-existing articulation of exchange, property and value relations, between capital and labour, at multiple geographical scales, and that the state is an arm of class relation. It draws out implications of class relations for consciousness and political power of the proletariat.

A theoretical examination of the influence of political and social movements on the art of dance.

While Karl Marx's ideas remain influential in the social sciences, there is considerable disagreement and debate on the methodological principles that inform his work. Marx often aligned himself with both "scientific" and "dialectical" principles, at least once referring to his method as a "scientific dialectic," suggesting he believed dialectical reason could be incorporated into scientific method. By debunking several misconceptions about Marx’s work and examining how he brought scientific methods to bear on his general sociological thinking, his materialist historical perspective, and within his political economy, this book brings new insight to the methodological principles that animate Marx’s writings. What emerges from such a perspective is an approach to sociological inquiry that remains vital and useful for contemporary research on capitalist society and its possible futures.

20th-century European Fascism is conventionally described by both historians and political scientists as a fierce assault on liberal politics, culture and economics. Departing from such typical analysis, this book highlights the long overlooked critical affinities between liberal tradition and fascism. Far from being the antithesis of liberalism, fascism, both in its ideology and its practice, was substantially, if dialectically, indebted to liberalism, particularly to its economic variant. Fascism ought to be seen centrally as an effort to unknot the longue durée tangle of the liberal order, as it finally collided, head on, with mass democracy. This brilliantly provocative thesis is sustained through innovative and incisive readings of seminal political thinkers, from Locke and Burke, to Proudhon, Bagehot, Sorel and Schmitt.

This anthology contains some of the more important Marxist thinkers now working on dialectics. As a whole the book is an unusual 'Introduction to Dialectics', a systematic restatement of what it is and how to use it, a survey of most of the main debates in the field, and a good picture of the current state of the art of dialectics.

Through the concept of “social choreography” Andrew Hewitt demonstrates how choreography has served not only as metaphor for modernity but also as a structuring blueprint for thinking about and shaping modern social organization. Bringing dance history and critical theory together, he shows that ideology needs to be understood as something embodied and practiced, not just as an abstract form of consciousness. Linking dance and the aesthetics of everyday movement—such as walking, stumbling, and laughter—to historical ideals of social order, he provides a powerful exposition of Marxist debates about the relation of ideology and aesthetics. Hewitt focuses on the period between the mid-nineteenth century and the early twentieth and considers dancers and social theorists in Germany, Britain, France, and the United States. Analyzing the arguments of writers including Friedrich Schiller, Theodor Adorno, Hans Brandenburg, Ernst Bloch, and Siegfried Kracauer, he reveals in their thinking about the movement of bodies a shift from an understanding of play as the condition of human freedom to one prioritizing labor as either the realization or alienation of embodied human potential. Whether considering understandings of the Charleston, Isadora Duncan, Nijinsky, or the famous British chorus line the Tiller Girls, Hewitt foregrounds gender as he uses dance and everyday movement to rethink the relationship of aesthetics and social order.