Written from a non-Western point of view, this work offers a fresh perspective on the postcommunist literary scene. The four sections of the book - literature, ideology, culture and methodology - reflect the range of postmodernism in contemporary Russia.

In this book it explores science and technology, makes connections between these epistemic, cultural, and political trends, and develops profound insights into the nature of our postmodernity.

It has become an intellectual commonplace to claim that we have entered the era of 'post-modernity'. Three themes are embraced in this claim - the poststructuralist critique by Foucault, Derrida and others of the philosophical heritage of the Enlightenment, the supposed impasse of the High Modern art and its replacement by new artistic forms, and the alleged emergence of 'post-industrial' societies whose structures are beyond the ken of Marx and other theorists of industrial capitalism. Against Postmodernism takes issue with all these themes. It challenges the idealist irrationalism of poststructuralism. It questions the existence of any radical break separating Post-modern from Modern art. And it denies that recent socio-economic developments represent any fundamental shift from classical patterns of capital accumulation. Drawing on philosophy and cultural history, Against Postmodernism takes issue with some of the most forthright critics of post-modernism - Jurgen Habermas and Frederic Jameson, for example. But it is most distinctive in that it offers a historical reading of these theories. Post-modernism, Alex Callinicos argues, reflects the disappointed revolutionary generation of '68, and the incorporation of many of its members into the professional and managerial 'new middle class'. It is best read as a symptom of political frustration and social mobility rather than as a significant intellectual or cultural phenomenon in its own right.

"At War with the Word seeks to transcend the politicization of literature and calls for a greater recognition of literature's role in developing the intellect and imagination of students."--BOOK JACKET.

Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

This highly original and timely volume engages scholars from the breadth of social science and the humanities to provide a critical perspective on cultural forms, practices and identities. It looks beyond the postmodern debate to reinstate the critical dimension in cultural analysis, providing a "student-friendly" introduction to key contemporary issues such as the body, AIDS, race, the environment and virtual reality. Theorizing Culture is essential reading for undergraduate courses in cultural and media studies and sociology, and will have considerable appeal for students and scholars of critical theory, gender studies and the history of ideas.

A militant Marxist atheist and a “Radical Orthodox” Christian theologian square off on everything from the meaning of theology and Christ to the war machine of corporate mafia. “What matters is not so much that Žižek is endorsing a demythologized, disenchanted Christianity without transcendence, as that he is offering in the end (despite what he sometimes claims) a heterodox version of Christian belief.”—John Milbank “To put it even more bluntly, my claim is that it is Milbank who is effectively guilty of heterodoxy, ultimately of a regression to paganism: in my atheism, I am more Christian than Milbank.”—Slavoj Žižek In this corner, philosopher Slavoj Žižek, a militant atheist who represents the critical-materialist stance against religion's illusions; in the other corner, “Radical Orthodox” theologian John Milbank, an influential and provocative thinker who argues that theology is the only foundation upon which knowledge, politics, and ethics can stand. In The Monstrosity of Christ, Žižek and Milbank go head to head for three rounds, employing an impressive arsenal of moves to advance their positions and press their respective advantages. By the closing bell, they have not only proven themselves worthy adversaries, they have shown that faith and reason are not simply and intractably opposed. Žižek has long been interested in the emancipatory potential offered by Christian theology. And Milbank, seeing global capitalism as the new century's greatest ethical challenge, has pushed his own ontology in more political and materialist directions. Their debate in The Monstrosity of Christ concerns the future of religion, secularity, and political hope in light of a monsterful event—God becoming human. For the first time since Žižek's turn toward theology, we have a true debate between an atheist and a theologian about the very meaning of theology, Christ, the Church, the Holy Ghost, Universality, and the foundations of logic. The result goes far beyond the popularized atheist/theist point/counterpoint of recent books by Christopher Hitchens, Richard Dawkins, and others. Žižek begins, and Milbank answers, countering dialectics with “paradox.” The debate centers on the nature of and relation between paradox and parallax, between analogy and dialectics, between transcendent glory and liberation. Slavoj Žižek is a philosopher and cultural critic. He has published over thirty books, including Looking Awry, The Puppet and the Dwarf, and The Parallax View (these three published by the MIT Press). John Milbank is an influential Christian theologian and the author of Theology and Social Theory: Beyond Secular Reason and other books. Creston Davis, who conceived of this encounter, studied under both Žižek and Milbank.