Expressionism And Structuralist Dematerialism : The Primary Theme Of La Fournier 's

Marxist literary criticism as defined by Peter Barry approaches a literary text through terms introduced in Karl Marx’ and Friedrich Engels’ Communist economic theory. Their jointly written text titled The Communist Manifesto called for a society with “state ownership on industry… rather than private ownership”. The social theory later became known as Marxism. As stated in Barry’s text, “The aim of Marxism is to bring about a classless society, based on the common ownership of the means of production, distribution, and exchange” (156). One of the theory’s main aspects looks to the “exploitation of one social class by another. The result leaves one class alienated.” Central to Marxism is a belief in its ability to change the material world, which it theorizes. According to Marxist theorists, only through conflicts between the bourgeoisie and the proletariat, can the status quo positively change (157).

“Foucault’s work gave the terms discursive practices and discursive formation to the analysis of particular institutions and their ways of establishing orders of truth, or what is accepted as ‘reality’ in a given society” (Goldberg). Discursive formations display hierarchical arrangement and are understood as reinforcing certain already established identities or subjectivities- in matters of sexuality, status, or class for example. These dominant discourses are understood as in turn reinforced by existing systems of law, education and the media”. Foucault’s work is to show that members of society such as intellectuals, “are implicated in discourse and in the discursive regimes or systems of power and regulation which give them their livelihoods

which his belief about our culture as a whole, that although was are inharmonious, we are better for it, which agrees with Rushdie “the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs.” Sanders uses cultural relationships to make connections with the Rushdie and the ways in which their beliefs differ and are

This paper attempts to offer a Marxist reading of Conrad 's Heart of Darkness (1899) and Defoe's The Life and Strange Surprising Adventures of Robinson Crusoe (1719) . Specifically , this paper highlights how the concept of commodification helps us to understand the dialectic struggle between the bourgeoisie and the proletariat which are both considered the products of their socioeconomic and material circumstance with an emergent capitalist culture. By depicting how capitalists in the two novellas commodify objects or humans and by investigating the struggles between the 'haves' and the 'haves-not' .

In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.

orthodoxy of a nation rooted in ideas. In response to an essay by Salman Rushdie, a migrant of

The Traffic in Women: The “Political economy” of sex by Gayle Rubin is an exploration of the origin of women’s oppression. Rubin’s main objective is to arrive at a more fully developed definition of the sex/gender system, otherwise referred to as “mode of reproduction” and/or “patriarchy”. She further develops her definition through the analysis of the work of Levi-Strauss and Freud from a marxist perspective. Rubin provides the following preliminary definition of the sex/gender system “A set of arrangements by which a society transforms biological sexuality into products of human activity, and in which these transformed sexual needs are satisfied.” (159) She attempts to add to her definition of the sex/gender system through the analysis of the overlapping work of Claude Levi- Strauss and Sigmund Freud. Despite implications with their work, Rubin believes that both Levi-Strauss and Freud provide conceptual tools in describing the sex/gender system. Rubin looks at a Marxist analysis of sex oppression, as well as, Engels theory of society which integrates both sex and sexuality. Furthermore she incorporates aspects of each theory addressed into her own working definition of the sex/gender system. By shifting between Marxist, structuralist and psychoanalyst explanations of sex oppression, Rubin is able to construct a multi-dimensional definition of the sex/gender system that is not only inclusive but also provides a basis of which to build from.

Prosser (1998) enters the gender-identity conversation with a rather counter-intuitive project. At a time when poststructuralism is busily deconstructing the sex/gender linkage in ways that transcend the materiality of the subject, Prosser wants to bring the “ontological” trans body back into the dialogue by charting the arc of the changing body within transgender narratives. Only by mapping these transitions in this frame can he describe a complex transsexual experience that breaks free from the political binaries used by essentialists and poststructuralists, such as “literal/deliteralizing, subversive/hegemonic” (16). If the former has been guilty of a dogmatic reliance on a narrow understanding of biology to describe transsexuals, Prosser argues, then the former is equally guilty of deconstructing gender to the point of reducing the material body to an inconvenient concept (13).

For queer theorists, identity has been constructed through performativity, which is based on the opinion of Judith Butler. Butler (1990, p.25) believed that “ there is no gender identity behind the expression of gender; that identity is performatively constituted by the very ‘expressions’ that are said to be its results.” In other words, there is not any factor to produce the identity, but identity creates itself through performativity. One should imitate and repeat the gender expression again and again according to norms, then the identity will be constituted, which also shows that identity is fluid and constructed. Moreover, Jenkins (2000,2004) stated that a dynamic social process generates identity, so identity is not static but fluid and dynamic.

The Marxist literary criticism states that “literature reflects class struggle and materialism.” Someone who reads texts through a Marxist lens tries to identify issues that relate to both money and power, and commonly asks questions about how they deal with the struggles for money and power, along with the roles they play in the work. These criticisms stem from the beliefs and perceptions of popular philosopher Karl Marx that human society consists of clashes and conflicts between the oppressed and oppressing; between the proletariats and the bourgeoisie (Delahoyde).

The movements of German Expressionism and Japanese pre-war cinema produced trends greatly influenced by its historical context. These contexts contributed to shaping their own stylistic styles captured throughout the theme, mise-en-scene, and cultural ideologies. Although these two movements occurred in fairly similar time periods, they both occurred in different parts of the world which had a fundamental role in generating key contrasts between these movements. Both occurring in pre-war periods, a striking similarity existed between the two; they both displayed the economic instabilities. Both subtly exhibited the internal anxieties that the individuals faced in the differing societies. German Expressionism had the stylistic forms that in turn captured distorted images or grotesque style to convey an abstract sense of reality throughout 1920’s. On the other hand, the Japanese pre-war cinema expressed the humanistic family by displaying their everyday struggles of the lower middle class known as the “common people” during the 1930’s. Although these movements were individually unique throughout their distinct stylistic devices and ideologies, they essentially came together during this time period to help transform the art of national cinema.

It is fairly apparent that a number of political overtones dominate Emile Zola's novel Germinal, which is the 13th book of nonfiction within the writer's Les Rougon-Macquart, a 20-volume series of novels. The author published this work of literature in 1885, less than 50 years after Marx and Engels unveiled the Communist Manifesto which was still plenty of time for a number of the ideologies propagated in this manuscript to take hold of popular culture and political theorists alike. In fact, one could successfully make a claim that the central theme of Germinal actually revolves around the conceptions of class antagonism that is an inherent part of an exploitative, bourgeois society such as that depicted in the French coal mining town in 1860, the setting for Germinal. A thorough analysis of this literary work illustrates that there are several instances of class antagonism, which are central to the plot of this book and provide its primary theme.

Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation

In Foucault and Queer Theory Spargo defines queer theory as a nebulous group of cultural criticism and analysis of social power structures relating to sexuality . It is these power structures and aspects of culture that are responsible for the discourse that creates and informs ones understanding of gender, race, and sexuality. However these aspects of identity do not exist separately from one another, but are constructed in tandem throughout history. These layers of identity inform each other in a way that is difficult if not impossible to separate. They do not act independently with an additive effect but intersect constructing their own unique set of experiences and perspectives. In this paper I will be exploring queer theory

The Impressionism movement was a reaction to the realism and romantic movement. Instead of detailed, accurate and photo-like paintings of the contemporary life of realism and romanticism, Impressionist painters used more blurred brush reality to the canvas (Strickland). Specific techniques Impressionist artists used were unblended colors and quick, short brush strokes with a unique play on light. An Impressionist artists' goal was to "objectively paint reality in terms of transient effects of light and color." The artists of this movement would paint vibrant contrasting colors directly onto the canvas, which was a great contrast to the traditional art of blending somber colors. Confused and ridiculed by this technique, the Salon of the French Academy consistently rejected most of the artwork done by Impressionist artists. These rejections of artwork eventually led a group of artists to organize their own exhibitions, Exhibitions of the Independent Artists.