Fergus Millar (1935–2019)

Fergus Millar (1935–2019), Camden Professor of Ancient History at Oxford from 1984 until his retirement in 2002, who died a little over 2 years back.

Dietrich Bonhoeffer (1906–1945)

Dietrich Bonhoeffer (1906–1945), the great German theologian who was executed by the Nazis in 1945. He was arrested by the Gestapo in April 1943 and hanged exactly two years later (at Flossenbürg concentration camp), accused of associating with the group that conspired to assassinate Hitler in July 1944.

Webs of complicity: Reading Moravia's The Conformist in India today

Italian literature and cinema have explored the issue of fascism in more subtle and fascinating ways than most comparable traditions elsewhere in Europe.

Vladimir Petrovich Shkredov (September, 14, 1925 – August, 27, 1996)

Leopoldina Fortunati

Marx writes, ‘Only labour which produces capital is productive labour’. So what do we say about women who work at home (so-called ‘housewives’) whose labour produces/reproduces the male worker who in turn produces capital? Do they produce capital? In a crucially important passage at p.

Gian Maria Volonte (1933–94)

  By Jairus Banaji

Gillo Pontecorvo (1919–2006)

Gillo Pontecorvo (1919–2006), whose masterpiece “The Battle of Algiers” (1966) remains the most perfect example of a ‘reconstructed realism’, the purest cinematic equivalent of Marx’s famous metaphor of the ‘life of the subject-matter’ being ‘ideally reflected as in a mirror’ (1873 Afterword to Capital, vol. 1).

Veselin Masleša: A Yugoslav in the Frankfurt School?

Arghiri Emmanuel (1911–2001)

Among the greatest works of Marxist theory in the 20th century we should count Hilferding’s Finance Capital (1910), Rubin’s Essays on Marx’s Theory of Value (1928), Grossman’s The Law of Accumulation and Breakdown of the Capitalist System (1929), Emmanuel’s Unequal Exchange (1969) and Sartre’s Critique of Dialectical Reason (1

Luchino Visconti’s The Damned (1969)

It now struck him that nowhere in the modern world had so much crime gone unpunished as in Nazi Germany, with its extraordinary mixture of banality and bloodshed. Asked later why he chose Nazism rather than Fascism, Visconti said: “Because of the difference between tragedy and comedy.