As an occasional feature on TELOSscope, we highlight a past Telos article whose critical insights continue to illuminate our thinking and challenge our assumptions. Today, Robert Wyllie looks at Norberto Bobbio’s “Is There a Marxist Theory of the State?” from Telos 35 (Spring 1978).
Norberto Bobbio’s 1978 article “Is There a Marxist Theory of the State?” marks a turning point in the history of Telos. The “red decade” was coming to a close in the mid-1970s, and the New Left was falling into disarray. Hence, Bobbio writes an epitaph in this 1978 article, which makes the convincing case that the Left was never able to develop a political theory that included a positive concept of the political state. In the years following Bobbio’s article, the Telos group would begin to look elsewhere. As Paul Piccone and Gary Ulmen later explained, “Telos‘ initial interest in [Carl] Schmitt’s work was triggered in the 1980s by the realization, in the collapse of the New Left and under the influence of Norberto Bobbio’s criticism, that the Left in general and Marxism in particular had no political theory.”[1] Bobbio moved Telos away from “revolution, dialectic, commodity fetishism, liberation, alienation, and monopoly capitalism”[2] to Carl Schmitt, federalism, and populism.
Current talk of the post-secular necessarily invites analysis of the nature of the secular, particularly its historical genesis and subsequent development. The task is to reject what Charles Taylor in A Secular Age has termed “subtraction stories” of the emergence of secularism, involving simplistic assumptions about the inexorable evaporation and attenuation of the religious, and instead understand the complex constitutive role religion has played in the construction of the secular. Marcuse’s work is of interest in this respect because beginning with his 1930s analysis of what he terms “the Christian bourgeois concept of freedom” within the Protestant Reformation, he explores the ways in which he believes modern secular society emerged out of Christianity. 
In “Context, Event, Politics: Recovering the Political in the Work of Jacques Derrida,” Jonathan Blair asks us to reconsider the standard narrative that has been used to categorize and also mischaracterize Derrida’s work. This is the position that Derrida’s early work begins with the institution of deconstruction and that at a point in the late 1980s Derrida’s thinking experienced a shift or a turn from deconstruction and to an explicit focus on the ethical and the political. Against this narrative, Blair argues that the question of politics appears as early as 1970. 
Congratulations to Jens-Martin Eriksen and Frederik Stjernfelt for winning best title in the non-fiction category at the London Book Festival for their book 
It is difficult to think of what cinema is in the present, and indeed, what cinema might be in the future, outside of large studio systems, box office opening numbers, and global profit intake. Even so-called “independent” films often circulate in a virtual minor league of the Hollywood studio system, vying for wide release. To be sure, cinema’s thorough commodification both limits its potential for aesthetic experimentation and makes it easier to equate it with other forms of media. When cinema becomes secondary to the metrics of profit, its distinct aesthetic qualities are subordinate to its function as a product comprised of moving images and sound. Moreover, as film moves away from celluloid and toward digital formats, one is compelled to ask what makes cinema distinct as visual technology is homogenized. This is not to say that cinematic experience and practice are bankrupt aesthetic qualities or that film is doomed to devolve into an indistinct mesh of CGI and user-generated websites like YouTube and Vine. Rather, as Yvette Biro suggests in her “The Intellectual Film: Eisenstein’s Plan to Film Marx’s Capital,” the horizon of cinematic thought and practice is perhaps best imagined by examining the relation between ideology and cinematic aesthetics. 
