The German filmmaker Alexander Kluge has long promoted cinema's relationship with the goals of human emancipation. Jean-Luc Godard and Filipino director Kidlat Tahimik also believe in cinema's ability to bring about what Theodor W. Adorno once called a "redeemed world." Situating the films of Godard, Tahimik, and Kluge within debates over social revolution, utopian ideals, and the unrealized potential of utopian thought and action, Christopher Pavsek showcases the strengths, weaknesses, and undeniable impact of their utopian visions on film's political evolution. He discusses Godard's Alphaville (1965) against Germany Year 90 Nine-Zero (1991) and JLG/JLG: Self-portrait in December (1994), and he conducts the first scholarly reading of Film Socialisme (2010). He considers Tahimik's virtually unknown masterpiece, I Am Furious Yellow (1981–1991), along with Perfumed Nightmare (1977) and Turumba (1983); and he constructs a dialogue between Kluge's Brutality in Stone (1961) and Yesterday Girl (1965) and his later The Assault of the Present on the Rest of Time (1985) and Fruits of Trust (2009).

This study of Janet Frame's fiction addresses with unusual directness the Utopian momentum that underpins her concern with fundamental social issues, traditionally highlighted in existing criticism of her work. The idea behind this book is that Frame's critique of society, while it is offered for its own sake on one level, should not lead us to neglect the author's more speculative interest in an alternative conception of the human person. Her engagement in a species of experimental portraiture proves elusive, though, owing to an indirectness of approach that usually takes the form of thematic circumscription, rather than explicit representation. For example, the figure of the mute child, recurrent in her work, may well testify to a concern with the plight of the mentally ill; but on another level it also points to an envelope of intractable experience which it is the artist’s task to penetrate and explain. Such aspiration is inseparable from the search for a new medium of expression, felt to be necessary if one is to meet the challenge of apprehending the scope of pioneering knowledge. This close reading of the novels reveals that the alternative dimension of experience to be found in Frame’s novels is characterized by an intact capacity for remembering, or for imaginatively re-creating, eclipsed aspects of the present. Frame's view of Utopia thus turns out to be manifold: it is existential and ontological, linguistic and epistemological, but also historical and political. An unravelling of these intertwined strains then serves to clarify the complex question of Frame's post-colonial sensibility, which cannot be said to rely on a sense of rigid identity, whether national or otherwise.

The industrialization of the nineteenth-century European city facilitated developing conceptions of the model city, and allowed for large scale urban transformations. The urban discourse in the latter half of the nineteenth century was consequently dominated by a dialectic exchange between the ideal and the practical, a debate played out in the formation of the modern metropolis. Manifestoes and Transformations is the first work to deal with urban utopias and their relationship with actual urban interventions. Bringing together a carefully chosen, wide-ranging team of experts, the book provides a broad, contextual exploration of the ideas and urban practices which are the foundations of our conception of the contemporary city. As such, it is a valuable resource for students interested in the formation of the modernist city.

The spectacular growth in the 1970s and 1980s of the Marxist literature on politics and the state in capitalist society was hailed at the time as cumulative proof of Marxism's success in producing an effective theory of the political superstructure. More generally, it was seen as confirmation of the health and vigor of Marxist theory. Axel van den Berg questions both of these claims. Through comprehensive analysis of Marxist thought on bourgeois politics and the state, from that produced by Marx himself on, van den Berg radically challenges the viability of a distinctly Marxist theory of the state and of recent Marxist theorizing in general. In an exhaustive review of the literature, van den Berg shows that neo-Marxist theories are, for the most part, not empirically testable. To the extent that it is possible to draw any empirical implications from these theories at all, such implications are virtually indistinguishable from those of "bourgeois" theories. Van den Berg proceeds to lay bare the contradiction at the heart of Marxist theory in general: it presupposes the viability and desirability of some ideal socialist society yet its "anti-utopian" insistence that all criticisms of capitalism must rest on foundations immanent in capitalism itself prohibits any open discussion of such a utopia. Now available in paperback, this is a fundamental work for political and social theorists. "This work is brilliant in its polemical courage, its originality, and its detailed and revealing examination of texts. Van den Berg demonstrates that postwar Marxist political theory and sociology is not only vague and contradictory but that it actually makes critical concessions to the bourgeois thought' it claims to surpass. Appearing in the midst of afar-reaching reconsideration of the Marxism project in Europe, this volume crystallizes these issues for North American social science..."--Jeffrey Alexander, University of California, Los Angeles. "Van den Berg has made a major contribution to the long overdue relegation of Marxism to the museum of nineteenth-century ideological antiquities."--Dennis Wrong, Contemporary Sociology. Axel van den Berg is a Dutch-Canadian professor of sociology at McGill University in Montreal. His most recent work is The Social Sciences and Rationality.

For Erik Reece, life, at last, was good: he was newly married, gainfully employed, living in a creekside cabin in his beloved Kentucky woods. It sounded, as he describes it, "like a country song with a happy ending." And yet he was still haunted by a sense that the world--or, more specifically, his country--could be better. He couldn't ignore his conviction that, in fact, the good ol' USA was in the midst of great social, environmental, and political crises--that for the first time in our history, we were being swept into a future that had no future. Where did we--here, in the land of Jeffersonian optimism and better tomorrows--go wrong? Rather than despair, Reece turned to those who had dared to imagine radically different futures for America. What followed was a giant road trip and research adventure through the sites of America's utopian communities, both historical and contemporary, known and unknown, successful and catastrophic. What he uncovered was not just a series of lost histories and broken visionaries but also a continuing and vital but hidden idealistic tradition in American intellectual history. Utopia Drive is an important and definitive reconstruction of that tradition. It is also, perhaps, a new framework to help us find a genuinely sustainable way forward. " ... an engaging exploration -- and example -- of the fruitful tunnel-visions of dreamers turned doers." - Publishers Weekly

An important discussion of Moltmann's work on eschatology, to which Moltmann himself has contributed responses and new e

"A Modern Utopia" is presented as a tale told by a sketchily described character known only as the Owner of the Voice. This character "is not to be taken as the Voice of the ostensible author who fathers these pages," Wells warns. He is accompanied by another character known as "the botanist." Interspersed in the narrative are discursive remarks on various matters, creating what Wells called in his preface "a sort of shot-silk texture between philosophical discussion on the one hand and imaginative narrative on the other." Because of the complexity and sophistication of its narrative structure, H.G. Wells's A Modern Utopia has been called "not so much a modern as a postmodern utopia." The novel is best known for its notion that a voluntary order of nobility known as the Samurai could effectively rule a "kinetic and not static" world state so as to solve "the problem of combining progress with political stability." Herbert George Wells (1866-1946), known as H. G. Wells, was a prolific English writer in many genres, including the novel, history, politics, and social commentary, and textbooks and rules for war games.