Karl Marx View on Shame as a Social Emotion

The Slave narrative documentary; Unchained Memories, released in 2003, brought to light many things that had not before been seen, or even thought of by many people. Even before the film was released, the telling of the stories inside changed many ideas regarding slavery. The history of slavery in the United States of America has always been commonly known, but not many people have, at this point in time, had to really think of what that meant, what slavery truly was to the millions of Africans, and African-Americans who experienced it. The film and the stories themselves changed many people’s views on slavery, by enlightening them.

French wants to draw attention to the harrowing nature of Hitler’s ideas. We are then forced to contemplate and question the dramatic pause and about how these prejudicial ideas impacted upon the lives of the Jewish people.

Over the course of time throughout 1776 to 1852, guilt arose from how indifferently white Americans were treating others of the same appearance.Such examples of guilt contain the writings of Frederick Douglass, who

Not so long ago few Americans spoke of slavery – which was swept under the rug until the civil rights movement in the 1950s. The shame of slavery gradually rose to public consciousness over the last five decades. Now the topic appears everywhere, in movies, television documentaries and academia. Nearly every major museum has mounted an exhibition on slavery. This issue has become an integral part of the foundation for understanding America’s past. With specific attributes, slavery is distinct from all other forms of oppression, giving it a unique place in human history. Many consider Narrative of the Life of Frederick Douglass (1845) as the best among anti-slavery propaganda that appeared with increasing frequency during the years preceding the Civil War. The primary reason of its appeal is the unsurpassed clarity of Douglass’ writing, which displays his superior sensitivity and intellectual capacity as he addresses the woeful irony of the existence of slavery in a Christian, democratic

In these two tales of brutal bondage, Harriet Jacobs' Incidents in the Life of a Slave Girl and Frederick Douglass' Narrative of the Life of Frederick Douglass, the modern reader can decipher two vastly different experiences from circumstances that were not altogether that dissimilar. Both narratives tell the story of a slave gaining his or her freedom from cruel masters, yes, but that is where the most prominent similarities end. Not only are they factually different, these stories are entirely distinct in their themes.

Jensen purposed that “…guilt is a way for white people to avoid taking action” (Jensen, 47). This prompts white individuals to believe it is enough to feel guilty about what happened with slavery rather than creating the urge to take action to fight existing racism. Though Jensen’s piece is mostly based off of an opinion, he succeeded in making a compelling argument by using personal life experiences in which his ideas were clearly

There are those in America who believe that it is time we move past the deep complex feelings towards the cultural repercussions of slavery. Much like the modern-day, Germans feel in their association with the murders and tragedies after World War II, many Americans – especially white American – want to feel an understandable disassociation from the white Americans who propagated slavery. Thus calling this unbearable reminder of the past “white guilt” and marginalizing slavery as a mistake of a much more ignorant time. Many Americans object to the ongoing studies of the conditions that caused slavery (Bardis, White Guilt). This is a tremendous mistake, and the memoirs of Frederick Douglass and Harriet Ann Jacobs exemplifies why it is essential that this time-period is studied and be understood by all current and future generations of Americans.

The film 12 Years a Slave, an adaptation of the 1853 autobiography by a slave named Solomon Northup, depicts his everyday life after his rights and freedoms are ripped away. Through the unpleasant slave auction scenes to the sickening slave punishments, 12 Years a Slave is a heartbreaking story that unfortunately conveys the harsh truth on the issues surrounding slavery. Consequently, during the film there are many themes and events that trigger different thoughts and reactions varying between viewers, and importantly a better understanding of Solomon Northup’s story and slavery itself.

[1] Before I start this essay, I feel the need to remind the reader that I find slavery in all its forms to be an oppressive and terrible institution, and I firmly believe that for centuries (including this one) bigotry is one of the most terrible stains on our civilization. The views I intend to express in the following essay are in no way meant to condone the practices of slavery or racism; they are meant only to evaluate and interpret the construction of slavery in film.

The role of Fanon’s native intellectuals links up with Gramsci’s ideas on the organic intellectual. Both examples work successfully with the masses of society and with their local communities. They are not ‘here today and gone tomorrow’. With the disappearance of public or organic intellectuals, culture and public life would most definitely go into decline. The traumas and sufferings of the oppressed reveal that concepts of colonialism

As human beings, one of the most fundamental aspects of our existence, according to philosopher Karl Marx, is the act of work. More specifically, it is the idea that work fulfills human being’s essence. Work, for Marx, is a great source of joy, but only when the worker can see themselves in the work they do, and when said worker wants to partake in the work they are performing. In the capitalist identity, workers are “a class of labourers, who live only so long as they find work, and who find work only so long as their labour increases capital” (Marx and Engel, 1946, pg. 116). Labourers were simply described as “a commodity” (Marx and Engel, 1946, pg. 117) by the ruling class; they are but pieces of a large, intricate gear system, all for the profit of those above them. In this, the worker loses touch with their essence. This concept is referred to, more or less, as alienation. Alienation is a form of separation of how one sees themselves, and how one sees themselves in what they do. Alienation, in many ways, relates to the idea of false consciousness. False consciousness, for Marx, revolves around the idea of misleading society; It is an ideological way of thinking in which no true perception of the world can be achieved. Both alienation and false consciousness delve into the notion of what constitutes true reality. Alienation describes how those that are controlled by the ruling class are subject to a form of disconnect, and false consciousness is a hierarchal idea in

Defining the American: A Critical Analysis and Comparison of Solomon Northup’s Autobiography 12 Years a Slave and Steve McQueen’s 2013 Film Adaptation

In the film Twelve Years a Slave, the treatment of slaves in the antebellum South is portrayed as cruel and inhumane. The film depicts the diversity of slavery as a living hell for every black person in America. The film does this by emphasizing on the kidnapping, rape, separation of families, humiliation, abuse, and torture. Slaves and black people were treated as an inferior race of people.

In the Discourse on Colonialism, Cesaire illustrates a compelling relationship between colonized states and the proletariat class. He conveys that the proletariat socio-economic class allows for the possible unification of society against the powers of colonialism. Interestingly, the comparison reflects as these elements extend from constructed illusions to unequivocal creeds. By isolating and juxtaposing the two groups, Cesaire is able to elaborate on how he believes that race and class unite to dominate 'inferior subjects' in nations throughout the globe. Throughout the essay, Cesaire provides reasoning for the socially constructed experiences of those dictated by colonial imperialism, particularly Africans, and proletarian conflicts in

Wretched of the Earth by Frantz Fanon explores the roles of violence, class, and political organization in the process of decolonization. Within a Marxist framework, Fanon theorizes and prophesizes the successes and failures of independence movements within colonized nations. He exalts the proletariat as a revolutionary class that is first to realize the necessity of violence in the removal of colonial regimes. Yet the accomplishment and disappointments of the proletariat are at the hand of men. Fanon neglects women in terms of the proletariat’s wishes and efforts. In spite of this exclusion, Fanon nonetheless develops a theory that could apply to the proletariat as a whole, women included. For although Fanon failed to acknowledge women’s