Walter Benn Michaels Reihenfolge der Bücher

Gefeiert als »eloquent« (Chicago Tribune) und »stichhaltig« (The New Yorker), verströmt das Buch »einen Hauch von Genialität« (The Economist) und macht es unmöglich, mit den Thesen von Walter Benn Michaels »nicht übereinzustimmen« (The Washington Post). Michaels behauptet in »Der Trubel um Diversität«, dass unsere Fokusierung auf die »Differenz« den Unterschied außer Acht lässt, auf den es wirklich ankommt: den Unterschied zwischen Reichen und Armen. Respektlos nimmt Walter Benn Michaels sich die vielfältigen Ausprägungen unserer Besessenheit vor – Affirmative Action, Multikulturalismus, Kulturerbe und Identität – und zeigt, dass Diversität keine Voraussetzungen für soziale Gerechtigkeit schafft. In einer Absage sowohl an die Linke als auch an die Rechte fordert er, wir möchten uns weniger um die unwichtigen Unterschiede der Kulturen kümmern als um das wirkliche Missverhältnis der Klassen und die Verteilung des Reichtums. Ein Debattenbeitrag zur Diskussion über Herkunft und Identität, aus der immer neue Opfergruppen entstehen.

Bertolt Brecht once worried that our sympathy for the victims of a social problem can make the problem’s “beauty and attraction” invisible. In The Beauty of a Social Problem, Walter Benn Michaels explores the effort to overcome this difficulty through a study of several contemporary artist-photographers whose work speaks to questions of political economy. Although he discusses well-known figures like Walker Evans and Jeff Wall, Michaels’s focus is on a group of younger artists, including Viktoria Binschtok, Phil Chang, Liz Deschenes, and Arthur Ou. All born after 1965, they have always lived in a world where, on the one hand, artistic ambition has been synonymous with the critique of autonomous form and intentional meaning, while, on the other, the struggle between capital and labor has essentially been won by capital. Contending that the aesthetic and political conditions are connected, Michaels argues that these artists’ new commitment to form and meaning is a way for them to depict the conditions that have taken US economic inequality from its lowest level, in 1968, to its highest level today. As Michaels demonstrates, these works of art, unimaginable without the postmodern critique of autonomy and intentionality, end up departing and dissenting from that critique in continually interesting and innovative ways.

Anatomizes what's fundamentally at stake when we think of literature in terms of the experience of the reader rather than the intention of the author, and when we substitute the question of who people are for the question of what they believe.

Argues that the contemporary commitment to the importance of cultural identity has reovated rather than replaced an earlier commitment to r4acial identity and asserts that the idea of culture, far from constituting a challenge to racism, is actually a for