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As diverse forms of resistance rise once more, a new generation of students, scholars and activists will find Marcuse's radical theory essential to their struggle. Marcuse's aesthetics of liberation, in which art assumes a primary role in interrupting the operation of capitalism, made him a key figure for the student movement in the 1960s.
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1 To this end, the chapter mostly examines Marcuses later works. Marcuses critiques of capitalist society (especially his 1955 synthesis of Marx and Sigmund Freud, Eros and Civilization, and his 1964 book One-Dimensional Man) resonated with the concerns of the student movement in the In One-Dimensional Man, Marcuse’s theory of advanced industrial society very often refers to advanced capitalism, and almost all. question and answer session following his The End of Utopia lecture. This is the first English introduction to Marcuse to be published for decades, and deals specifically with his aesthetic theories and their relation to a critical theory of society.Īlthough Marcuse is best known as a critic of consumer society, epitomised in the classic One-Dimensional Man, Malcolm Miles provides an insight into how Marcuse's aesthetic theories evolved within his broader attitudes, from his anxiety at the rise of fascism in the 1930s through heady optimism of the 1960s, to acceptance in the 1970s that radical art becomes an invaluable progressive force when political change has become deadlocked. iek conceptualise excess or utopian desires in ideology, suggesting abstract. develop (after Marcuse) in the musical eutopias of public broadcasting. When capitalism is clearly catastrophically out of control and its excesses cannot be sustained socially or ecologically, the ideas of Herbert Marcuse become as relevant as they were in the 1960s. .by the emergence of a distinctive dystopian genre, prevalence of dystopian images in the media and discussion on the end of utopia (Marcuse, 1970).