Return to the Horrorhaus: Hans Poelzig’s nightmare expressionism, 1908-1935

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Two years ago, I introduced my readers to the work of the German expressionist architect Hans Poelzig. Many were doubtless familiar with his buildings already. What I sought to highlight, though, was the sheer scariness of his architecture. Hence “scary architecture.” SOCKS Studio, always excellent and often operating on the same wavelength, also put up a post on Poelzig around the same time.

In the time that has passed, I have amassed hundreds more high-quality images of plans, sketches, and period photographs of Poelzig’s built work. Needless to say, they aren’t any less scary than before. One could easily imagine Max Schreck’s Nosferatu lurking in the corridors of these structures, with Caligari’s hypnotized somnambulist dashing madly over their rooftops. Alfred Kubin’s monsters threaten to burst forth at any minute.

Flights of fancy aside, these really are stunning images. Dark, peculiar, and unexpected. I’m not sure what lends them this eerie quality, especially as a range of different building types are depicted, delineated, or photographed. Yet all of Poelzig’s structures share this tenebrous aspect, whether one takes his elegant cinema palaces, ominous monuments, or frightening industrial complexes (see the acid factory and gas works). Great stuff.

Click any of the following thumbnails to see the images in higher resolution, and scroll through to see more. Enjoy!

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On the work of Friedrich Pollock

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Jake Bellone, a comrade currently living in Canadian exile, has scanned the early Frankfurt School economist Friedrich Pollock’s 1956 work
 Automation: A Study of Its Social and Economic Consequences. I’ve digitized and uploaded it here for anyone who’s interested. You can download it by clicking on the link in the title above.

As far as I know, this book has been virtually forgotten in terms of the history of economic literature. It’s not the most thrilling read, but it’s a workmanlike survey of a number of studies and publications on the subject of automation. Counter to the prevailing optimism of the period, riding the long postwar boom, Pollock foresaw increasing technological unemployment ahead in the field of industry as automation became further generalized. Here he distinguished full-scale automation from the earlier phenomenon of mechanization, a process well known to political economists since Ricardo.

Pollock’s book has perhaps had a subterranean influence that has generally gone unnoticed. Ernest Mandel, the Belgian Trotskyist economist, cites it repeatedly in his celebrated book on Late Capitalism. An online acquaintance of mine, Elliot Eisenberg, who is close friends with Moishe Postone and studied with the brilliant Soviet Marxist economist Karl H. Niebyl back in 1961, went so far as to claim that “one cannot understand Marcuse’s Eros and Civilization without Pollock’s Automation.” This would seem to accord with Postone’s own estimation of Pollock’s significance:

Pollock’s work in the 1930s provided the implicit political-economic presuppositions of the pessimistic turn in Horkheimer’s theory and the changes in his conception of social critique. More generally, on the basis of an examination of Pollock’s investigations, I shall discuss the intrinsic relation of the political-economic dimension of Critical Theory to its social, political, and epistemological dimensions.

Here Postone mostly has in mind Pollock’s seminal 1941 essay on “State Capitalism: Its Possibilities and Limitations,” as well as his consideration of the question “Is National Socialism a New Order?” later that same year. But I see no reason not to extend this observation to the Institute’s work during the 1950s.

Max Horkheimer and Theodor Adorno dedicated their jointly-written Dialectic of Enlightenment (1944) to Pollock. Now that I think of it, this work was translated and made available just a year after it was first published in German, in 1956, when Horkheimer and Adorno were still virtually unknown in the Anglophone world. (Outside of the few works they wrote in English, that is). Like Horkheimer and Adorno, Pollock is rather coy when it comes to openly expressing his Marxism. He never mentions Marx by name, but talks about “relative surplus population,” fixed vs. circulating capital, and other concepts clearly derived from the critique of classical political economy. Similarly, early members of the Frankfurt School used “critical theory” as a kind of codeword for Marxist theory, both in order to disguise their communist sympathies and to emphasize a critical dimension that had been lost in the dogmatization of DiaMat in Moscow during the 1930s.

What follows is Rolf Wiggerhaus’ brief biographical sketch of Pollock, taken from his monumental study of The Frankfurt School. My only comment is that Wiggerhaus misleadingly suggests that Pollock and Horkheimer came to agree with SDP’s position on organized “state capitalism,” as if Hilferding had anything original to say on the matter. The Bolsheviks would have readily agreed with Hilferding’s remarks — at least prior to 1928, when Stalin combined Preobrazhenskii’s position on collectivization from the Left with Bukharin’s theory of “socialism in one country” from the Right.

Friedrich Pollock

Friedrich Pollock

Rolf Wiggerhaus
The Frankfurt School
Munich, 1986 (1995)
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The frank, limitless enthusiasm which the thirty-two-year-old Friedrich Pollock had for Karl Marx was somewhat artless, although it did have its own appeal. Marx, when he was thirty, had `worked out his philosophical, sociological and political views so clearly that, right to the end of his life, there was never anything he had to retract’, according to Pollock. Marx had “struggled untiringly right up to his death for the proletariat, regardless of obstacles.” This homage to Marx was published in 1926 in a discussion of a pamphlet on Proletarian Socialism [Der proletarische Sozialismus] by Werner Sombart, a former supporter of Marxism and correspondent of Engels. During the 1920s, Sombart had begun to support a “German” form of socialism, and had become an anti-Semite with intellectual links to Oswald Spengler, Johann Plenge, and Othmar Spann. Pollock objected to Sombart’s reference to the phenomenological “intuiting of general essences [Wesensschau],” demanding empirical research instead. He rejected Sombart’s claim that Marx and Engels subscribed to “plebeianism” as a “basic value,” asserting that scientific socialism had the character of a natural science. And he rejected the accusation that materialist dialectics was part of an exclusively proletarian metaphysics of history, mainly by appealing to references in Engels’s Anti-Dühring showing that Marx and Engels had been convinced that dialectics had universal validity.

All of this was characteristic of Pollock. He was born in Freiburg in 1894, and it had originally been intended that he should take over his father’s business, as in Horkheimer’s case. With his indifference towards Judaism and certain conventions — qualities instilled by his upbringing and reinforced by his simple, phlegmatic manner — Pollock made a lasting impression on the sixteen-year-old Horkheimer, and they began a peculiar, but lifelong, friendship. Pollock was less horrified by social injustices than Horkheimer was, but he was also less apprehensive than Horkheimer about committing himself openly to Marxism and communism: when the Munich Soviet Republic was crushed in May 1919, he gave his passport to a Russian who was hoping to escape abroad; the refugee was caught, and Pollock got into trouble with the police. Although Pollock, like the others, studied philosophy, it was only a minor subject alongside his principal interest, economics, in which he took his doctorate in 1923 with a thesis on Marx’s monetary theory. In an article “On Marx’s Monetary Theory” published in 1928 in [Carl] Grünberg’s Archiv, he complained about the “unhappy division between the economic and philosophical elements in Marx’s system.”  But he had a lifelong, philistine contempt for philosophical theory, and held to a pre-Leninist form of Marxist orthodoxy.

At the invitation of David Riazanov, Pollock travelled to the Soviet Union in 1927 to take part in the celebrations on the tenth anniversary of the October Revolution. One of the results of the visit was his book on Experiments in the Planned Economy in the Soviet Union, 1917-1927, with which he took his Habilitation in 1928. The book was published as the second volume in the Institute’s publications series, the Schriften des Instituts für Sozialforschung, and was written in a style similar to that of Carl Grünberg, the “master of historical realism in the investigation of social existence,” as Max Adler described him in 1932 in the Festschrift published on Grünberg’s seventieth birthday. In the preface to his book, Pollock acknowledged his debt to his “friend, teacher, and father-figure, Professor Carl Grünberg.” The reader was informed in the first sentence of the preface that “a theoretical analysis of the material will follow in a later work,” but this was never published. Pollock described the particularly unfavorable conditions which the Russian revolutionaries had faced at the outset, their tremendous, continuing difficulties, the often glaring mistakes they had made, and their constant changes of direction and frequent reorganizations. In the penultimate and longest chapter of the book, `The State Planning Commission [Gosplan] and its Work,” he used all of this to show how plans had been formulated in an absurdly inadequate way from the start, and had only gradually become more realistic. The book’s style was soberly informative, but it nevertheless clearly indicated the sympathy, patience, fascination, and even admiration which Pollock had for the “heroes and martyrs of the planned economy” and their tireless efforts to construct “a complete whole” out of various different plans, one which would, “at its fullest stage of development, consciously and totally incorporate the entire economic process” and gradually guarantee “the conscious structuring of the entire economic process and all of its parts.”

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Against kitsch criticism

Not to be elit­ist or de­lib­er­ately “high brow,” but I feel like the ana­lys­is of pop cul­ture phe­nom­ena has more than run its course in left­ist circles. Or rather, be­ing op­tim­ist­ic, it’s be­come in­creas­ingly dif­fi­cult to sep­ar­ate the wheat from the chaff, to sift genu­ine in­sights from a sea of banal­it­ies. Per­haps the real cri­terion is time, see­ing wheth­er or not a giv­en work or series stands up to re­valu­ation after a few years. At least then, once philo­sophy’s painted its gray on gray, there’s some sense of bal­ance and per­spect­ive. Did movie x or y truly cap­ture something of the cul­tur­al Zeit­geist? Is it still rel­ev­ant today? Hence the more qual­ity re­flec­tions tend to ar­rive only after the fact, like Agata Pyzik’s “Mauer Dream­story” (on An­drzej Å»uÅ‚awski’s 1981 film Pos­ses­sion) or Fre­dric Jameson’s “Real­ism and Uto­pia in The Wire (on the hit show by Dav­id Si­mon).

Writers for The New In­quiry and even Jac­obin would do well to re­vis­it an old es­say by Har­old Rosen­berg on “kitsch cri­ti­cism,” which ex­am­ines that odd situ­ation where a piece of writ­ing or com­ment­ary comes to re­semble the ob­ject it sup­posedly cri­tiques: dull, eph­em­er­al, and ul­ti­mately for­get­table. Ori­gin­ally pub­lished in Dis­sent back in 1958, and later re­pub­lished in Rosen­berg’s in­flu­en­tial col­lec­tion The Tra­di­tion of the New, it ob­serves that

[o]ne of the grot­esquer­ies of present-day Amer­ic­an life is the amount of reas­on­ing that goes in­to dis­play­ing the wis­dom secreted in bad movies while prov­ing that mod­ern art is mean­ing­less. Yet it is noth­ing else than the in­tel­lec­tu­al­iz­a­tion of kitsch.

Un­like his con­tem­por­ary, Clem­ent Green­berg, who would prob­ably agree with him that end­less in­quir­ies in­to mass cul­ture are a waste of time, Rosen­berg did not think that kitsch could be elim­in­ated by simply cham­pi­on­ing mod­ern art. “There is no coun­ter­concept to kitsch,” he main­tained. “Its ant­ag­on­ist is not an idea but real­ity. To do away with kitsch it is ne­ces­sary to change the land­scape, as it was ne­ces­sary to change the land­scape of Sardin­ia in or­der to get rid of the mal­ari­al mos­quito.” Neither by del­ic­ate de­mys­ti­fic­a­tion nor po­lem­ic­al an­ni­hil­a­tion can kitsch be re­moved.

So please, lay off the art­icles al­tern­ately de­clar­ing “Death to the Gamer” or stand­ing “In De­fense of Gamers,” or dreck about how Break­ing Bad is some­how ra­cist or the black fam­ily sit­com is in ter­min­al de­cline. Lana Del Rey is cool, and I even like some of her songs, but ded­ic­at­ing a whole is­sue of a magazine to the Kul­turkritik of her latest al­bum just seems to me like the­or­et­ic­al overkill.

I say this as someone who ap­pre­ci­ates many of the clas­sic stud­ies of film, tele­vi­sion, and mass me­dia con­duc­ted by Ben­jamin, Ad­orno, Barthes, and oc­ca­sion­ally some even today. For their sake, if not for mine, knock it off.

Just a brief up­date, Decem­ber 2016: For whatever reas­on, the amount of “cri­ti­cism” writ­ten in this vein has only in­creased. Sam Kriss is a very tal­en­ted writer, of­ten an in­sight­ful crit­ic. But his calls to “smash the force” (i.e., “[the latest Star Wars is] not just in­fant­ile bour­geois ul­traleft­ism; it’s Blan­quism in space”) and “res­ist Pokémon Go” (i.e., “this form [of game] de­mands a par­tic­u­lar type of en­gage­ment, that of a vi­cious, sticky-fingered child”) fall flat. Kriss has done pop cul­tur­al cri­tique quite well in the past, one need only look at his bril­liant sen­dup of Hildebeast in “Just Plain Nasty” for proof of this fact. If you’re look­ing for a funny and un­ex­pec­tedly com­pel­ling in­ter­pret­a­tion of Star Wars, check out “The Rad­ic­al­iz­a­tion of Luke Sky­walk­er: One Jedi’s Path to Ji­had” in­stead.

The nightmare surrealist: H.R. Giger (1940-2014)

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The nightmare is over for H.R. Giger. Giger, pioneering artist and designer of one of science fiction’s most famous on-screen monsters, died at age 74 yesterday.

A piece I’ve written up commemorating him will hopefully appear over at Metropolis tomorrow. For now, here are just a few of the images he produced that managed to burn themselves into my brain.

Grigorii Barkhin, Izvestiia newspaper building in Moscow (1926-1928)

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Some have noted the formal similarities between the original conception of Grigorii Barkhin’s Izvestiia newspaper building in Moscow and Walter Gropius’ proposed Chicago Tribune tower in Chicago. Barkhin himself attested to the latter’s influence on his own project. The initial plan for the building would have featured a base covering about a quarter of a city block, supporting a tall high-rise section that jutted suddenly skyward from it.

Owen Hatherley parsed their relationship several years back on his Kino Fist blog:

The Soviet skyscraper designs of the 1920s were strippings and rationalisations of the USA’s huge, atavistic fantasy-palaces. Aware of the mystificatory absurdity of a Woolworth Building, the extension of the Gothic up into the sky, the USSR’s early architects took their cue from the factories behind the facade. In one particularly memorable instance, this centred on the 1922 competition for the Chicago Tribune skyscraper. Bauhaus director Walter Gropius proposed a tower based on the printworks at the back, extending their modules into a futurist vision of cool, precise technology. It was ridiculed, of course, in favour of flying buttresses and Gothicky ornament. So in another act of plunder, the Soviet architects Grigori and Mikhail Barkhin proposed to build a slightly modified version of Gropius’ Chicago in Moscow for the Izvestia newspaper — and got it built, albeit drastically reduced.

We’ll return to this reduction later.

Walter Gropius and Adolf Meyer: Competition Entry for "Chicago Tribune" Tower (1922). Model, dynamic perspective.

Walter Gropius and Adolf Meyer: Competition submission for
Chicago Tribune tower (1922). Model, dynamic perspective.

Grigorii Barkhin, original plan for Izvestiia newspaper building (1926)

Grigorii Barkhin, original plan for Izvestiia building (1926)

A more proximate source of inspiration for Barkhin’s design (drafted 1926) was likely the Vesnin brothers’ Palace of Industry competition entry from 1923, which came a year after Gropius’ 1922 piece. One immediately notices the even greater similarities between them.

Here again there was some influence of Gropius’ project on the Vesnins’. (Both ultimately went unrealized). Indeed, there would later be some controversy when the rationalist architect Nikolai Dokuchaev accused his constructivist colleagues at VKhUTEMAS, the Vesnins, of copying the tower by Gropius. Dokuchaev further insinuated that there was some ideological contamination as a result, with some of the capitalist ideology of the Chicago Tribune proposal seeping into the structurally similar Palace of Labor. Moisei Ginzburg, by then chief theoretician of the OSA group, eventually intervened by pointing out the completely different functional contexts of the two buildings, while admitting their superficial resemblance.

The Vesnin brothers' unrealized proposal for the Palace of Labor (1923)

The Vesnin brothers’ unrealized proposal for the Palace of Labor (1923)

To be sure, the actual productive role of Barkhin’s Izvestia building was close to Gropius’ Chicago Tribune tower than was the Vesnins’ Palace of Labor, given that the first two were explicitly intended as publishing centers. Gropius’ tower would have likely served more as an office building for the writing staff than an actual printing plant, however. At least, that’s the role that Raymond Hood’s winning entry ended up playing. Barkhin’s building performed both tasks. Regardless, some overlap may be admitted.

Concerning the reduction mentioned earlier: due to material supply shortages, Barkhin and his younger brother, Mikhail, were forced to scrap the uppermost elevation. Instead, the base would be preserved as a continuous block, with rectilinear glazed façades as well as a series of distinctive circular windows over the right side of the entrance. The building still stands today, overlooking Pushkin Square in Moscow, though it now houses a Kentucky Fried Chicken store and King Sushi restaurant. Many of the photos included below are from the perspective of the park.

Enjoy! Click any of the images to enlarge, and scroll through the gallery.

Grigorii and Mikhail Barkhin. Dom Izvestiia, 1926-1927. Perspective view. Ink, watercolor, & white ink on paper.F-Moscou-Maison du Journal IsvestiaСтроительство типографского корпуса %22Известий%22Мы думаем, что снимок сделан в 1946 году  (направление съемки − север)Большой Путинковский переулок,5barhin2 Continue reading

The architecture of conflict

Photos by James Rawlings

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In his photo series Architecture of Conflict, photographer James Rawlings got a rare chance to photograph the daily life of an eerily active ghost town. England’s county of Kent is home to a collection of faux building fronts and avenues, like something from a film set, built to sharpen the response of London’s metro police in quelling an urban uprising:

Before I actually went there, the main thing that interested me was just the place itself, the fact that there was a whole town just purely built for this reason. I like the idea of it being a kind of contrived, built-up thing — an architecture meant just for conflict.

What you get is thus a kind of generalized façadism, almost out of a Hollywood Western, explicitly for the purpose of simulated urban warfare and riot suppression.

Click any of the images below to enlarge.

Piketty and Marx: Or, why no one needs to read anything

Less than a week ago, Jacobin magazine enumerated a list of nine canned responses criticizing the French neo-Keynesian economist Thomas Piketty’s book Capital in the Twenty-First Century. Zachary Levenson gave us the guide for “How to Write a Marxist Critique of Thomas Piketty without Actually Reading the Book.” It ranges between Marx and Piketty’s radically different conceptions of capital to the latter’s conflation of derivatives stemming from finance and industry. “Capital in the Twenty-First Century is a long book,” Levenson writes, sympathizing with his readers, “and you just don’t have time in your busy schedule to finish it and formulate a materialist critique.” Don’t worry, he urges, “we’ve got you covered.”

No doubt: there’s plenty of truth to such a list, conceived as it is in parody. Many self-proclaimed Marxists are quite eager to dismiss the latest fad in social liberal economic thought, and counterpose the trenchant historical critique offered by Marx to the dry data analysis offered by Piketty. Who hasn’t heard some of these scripted objections bandied about by “radicals” who clearly haven’t read the book?

Yeah, from the blurb on the back it may seem a tired rehashing of Keynesian commonplaces (now almost a century old). Granted, it might appear that Piketty merely “repackages the commonly known as the expertly known,” as one reviewer has put it, by treating observations of inequality under capitalism as if they were earth-shattering discoveries. But does that really justify all the unlettered pedantry of the Marxish commentariat? Shouldn’t people read Capital in the Twenty-First Century before issuing a judgment? Continue reading

Avant-garde journal design: Building Moscow [Строительство Москвы], 1927-1931

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Below are some pretty stellar avant-garde journal designs by Gustav Klutsis, Vasilii Elkin, and El Lissitzky for the monthly architecture journal Building Moscow. It ran through the 1930s, but progressively became less and less modernist in terms of both form (layout, formatting) and content (projects, proposals) as time went on. Number eleven from the year 1928 shows Le Corbusier’s influential proposal for the Tsentrosoiuz, or central union administration building, in Moscow. Here he incorporated a number of elements from his League of Nations proposal, which had been rejected the previous year.

There’s also a note here that I’ve included from the fourth issue of  1929. Enjoy!

Журнал Строительство Москвы, несомненно, становится все более содержательным. Им интересуются уже не только специалисты-строители и архитектора, но и широкие круги рабочей общественности. В свете строительных задач Москвы — ответственность органа Моссовета все более увеличивается. Continue reading

Bauhaus master Walter Gropius’ submission to the Palace of the Soviets competition, 1931

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Just a few brief notes, since I’m presently occupied with other tasks and because I’ve dealt with this topic (however cursorily) elsewhere. Recently I stumbled upon a cache of outstanding images of Walter Gropius’ 1931 submission to the Palace of the Soviets competition in Moscow. The majority of these images are floor plans, numerous because of the complex multilevel structure Gropius envisioned. Many, however, are sketches — perspective and axonometric drawings — depicting the view of the Palace from the river as well as approaches to its various entrances. A few more show the building’s situation vis-à-vis the rest of the city, site plans and the like.

Some have noted the similarities between Gropius’ proposal for the Palace of the Soviets and his earlier experiments with the idea of “total theater” for Erwin Piscator. James Marston Fitch, for example, pointed out the continuities that exist between the designs Gropius made for Piscator up through a 1930 proposal for a theater in Kharkhiv, Ukraine, leading ultimately to his conception of the Palace of the Soviets (Fitch, Walter Gropius, pg. 22). Gropius had already designed a theater for Oskar Schlemmer at his Bauhaus building in Dessau.

Total theater.

Important differences may be mentioned as well, however. Certainly Gropius’ Palace of the Soviets project was conceived on a much grander scale, given the specifications and requirements outlined by the Bolshevik government. Predictably, this entailed shifting qualitative dynamics that couldn’t be solved merely by quantitative increase or multiplication. Acoustical studies thus form an integral part of Gropius’ argument for the viability of his building.

Obviously, as everyone knows, things didn’t turn out the way the modernists had expected in the USSR. Neoclassicism won out, much to the chagrin of Le Corbusier, Moisei Ginzburg, Hans Poelzig, Erich Mendelsohn, Hannes Meyer, Sigfried Giedion, and the rest. Many felt it was a repeat of the whole League of Nations debacle. Giedion even sent Stalin an angry collage in protest — a futile but rather entertaining gesture. Would’ve loved to have seen the befuddled look on Dzugashvilii’s face when he opened that letter.

You can enlarge any of these images by clicking on them and scrolling through the gallery I’ve compiled.

Sketches.

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Biography is destiny

Anne Boyer on Althusser
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Sigmund Freud, the father of psychoanalysis, once infamously asserted that “biology is destiny.” (What he actually wrote was “anatomy is destiny,” but this is a trivial distinction. Either way, the statement was clearly intended as a provocation). Of course, Freud made this remark in connection with the subject of female genitality, with a sideways glance cast toward “the feministic demand for equal rights” — which he held “[did] not carry far here.”[1] It should thus hardly come as any surprise that the milquetoast lefty Kulturzeitschrift New Inquiry would reject this formulation. By all accounts, however, if Anne Boyer’s recent “review” of On the Reproduction of Capitalism by the late Louis Althusser is any evidence, the online journal has embraced an opposite but equally dubious dictum. According to this view, it would seem that “biography is destiny.” Her examination of this text, the first translation of Althusser’s writings to be published in years, serves as a mere pretext for her bizarre tirade against philosophers’ incorrigible habit of reproducing “patriarchy,” here nebulously conceived as a kind of timeless or perennial entity or institution.

Normally I’d be the last person to mount a serious defense of Althusser. Theoretical antihumanism, the outcome of Althusser’s misguided structuralist approach to Marxism, has proved deeply problematic in its subsequent influence on the Left. His notion of a sharp “epistemic break” dividing the Young Marx from the Old, laid the groundwork for a whole generation of bad scholarship. Even more ironic is the fact that Althusser would propose such a drastic rereading of Marx’s mature works, especially Capital, so soon after the rediscovery of the Grundrisse in the 1950s, which all but confirmed the persistent Hegelian underpinnings not just of the early works (The Economic and Philosophic Manuscripts of 1844, The German Ideology, etc.), but his broader investigations into political economy more than a decade later. Althusser could scarcely have chosen a worse time, Marxologically speaking, to advance such a hypothesis. Besides this, there are any number of objections one might legitimately raise: his ahistorical notion of ideology, his rejection of historico-critical self-consciousness as the foundation for both individual and group subjectivity, or his botched anti-Hegelian interpretation of Lenin (who’d written that “[i]t is completely impossible to understand Marx’s Capital, especially its opening chapter, without having thoroughly studied and understood the whole of Hegel’s Logic!”). One could go on. Continue reading