By Richard Howells (auth.)
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Extra info for A Critical Theory of Creativity: Utopia, Aesthetics, Atheism and Design
Such content-analytical projects are well worth undertaking, but in my analysis here, the Utopian aspect of form is more intellectually challenging and potentially rewarding. It also takes us beyond the political to the (for want of a better term) philosophical. I will return in greater depth to form in Chapter 6. In addition to form, an advantage of studying the Amish is their chosen status as a living anachronism. 1 The Amish descend from the German Anabaptists and are named after their founder, Jacob Amann.
70 In order to get beyond this, the editors contend, we need to abandon our traditional understandings of both time and space. 72 Of course, not everyone in academic and public philosophy today subscribes to the growing renaissance of Utopian thought. 73 For Scruton, pessimism is essential to wisdom, especially as informed by history. Optimism, on the other hand, is for him a self-deception; a fallacy that only appears to justify hope. It is an emotional need, he says, with prehistoric origins.
From the 1920s, Bloch also began seriously to embrace Marxism, and this included his unwavering support for the Soviet Union, including the Moscow ‘show trials’, which he publicly defended. This, again, provided enduring ammunition for his detractors. 50 Bloch remained, however, a deeply unconventional Marxist in that he, in the critical theoretical tradition, focused his attention on what was then understood as the cultural superstructure of society rather than the economic base. He was a Marxist who was unafraid to criticise – or at least to modify – Marx.
A Critical Theory of Creativity: Utopia, Aesthetics, Atheism and Design by Richard Howells (auth.)