By François Laruelle
This compelling and hugely unique booklet represents a war of words among of the main radical thinkers at paintings in France at the present time: Alain Badiou and the writer, François Laruelle.
At face worth, the 2 have a lot in universal: either espouse a place of absolute immanence; either argue that philosophy is conditioned by way of technological know-how; and either command a pluralism of concept. Anti-Badiou relates the parallel tales of Badiou's Maoist 'ontology of the void' and Laruelle's personal performative perform of 'non-philosophy' and explains why the 2 are in truth considerably diversified. Badiou's complete venture goals to re-educate philosophy via one technology: arithmetic. Laruelle conscientiously examines Badiou's Being and Event and exhibits how Badiou has created a brand new aristocracy that crowns his personal philosophy because the grasp of a complete theoretical universe. In flip, Laruelle explains the distinction together with his personal non-philosophy as a real democracy of inspiration that breaks philosophy's continuous enthrall with arithmetic and as a substitute opens up a myriad of 'non-standard' locations the place pondering are available and practised.
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Extra info for Anti-Badiou: The Introduction of Maoism into Philosophy
The front cover of the ﬁrst chapter of Evgeny Onegin, ﬁrst published in 1825. Pushkin’s ‘novel in verse’ is widely regarded as his highest achievement; some, such as Vladimir Nabokov, have considered it the greatest novel in Russian literature. The haunting tale of how Tatiana, an imaginative young woman from a family of small landowners in the Russian provinces, falls in love with Evgeny, a sophisticated, blasé St Petersburger with Byronic aspirations, but ﬁnds her feelings reciprocated only when she is no longer able or willing to return them, has alternately provoked and enraptured readers by its simultaneous deﬁance and assertion of convention, its combination of deep emotion and were precursors of many later characters in Russian novels, from Turgenev’s Liza in Nest of Gentlefolk to Tolstoy’s Anna Karenina and Nabokov’s Ada.
A much more customary strategy was the grandiose rejection of ofﬁcial commemoration and the 28 substitution of a magniﬁcently egotistical alternative cult of self. Vladimir Mayakovsky’s superb elegy for the poet Sergey Esenin, composed after the latter committed suicide in 1925, and one of the greatest poems written in Russian in the twentieth century, contains an extraordinary passage that at once repudiates the ofﬁcial construction of monuments and builds a monument before the reader’s eyes: They haven’t even built you a memorial, No bronze rings out, no stone lies hewn in hunks, But the rails of memory are ornamented all that junk.
Derzhavin’s poem was both a literal version of Horace and a literal version of the statue motif: Derzhavin’s monument has nothing airy or mystical about it, but is ‘harder than all metals and taller than the Pyramids’. Pushkin’s poem, on the other hand, is teasingly insubstantial: a ‘monument not made by human hands’ is from some points of view not a monument at all. In some ways, this idea of an art work about the impossibility of making an art work seems more characteristic of the twentieth century than of the early nineteenth century: it seems Modernist rather than Romantic.