The Circle Daugene Marx Analysis

In “Marx: Anthropologist,” Thomas C. Patterson provides archival research and contemporary analysis to defend the assertion that Karl Marx was one of the first urban anthropologists and a progenitor of emic ethnography in western culture. Patterson also aims to correct prior misinterpretations of Marx’s work in a polemic manner, addressing deficiencies in early analyses through careful argumentation and relevant evidence to contrary inferences. Patterson’s stated purpose is to answer the question “What would Marx’s anthropology look like today?” and does so by explaining the correlation between critical-dialectical methodology and the manner in which Marx went about social analysis. Chapters are organized according to each subject’s relevance to the construction of Marx’s anthropology. Chapter one focuses on the greater political state of Europe and university culture in which Marx received his education, providing historical and pedagogical explanations for the manifestation of his ideas. Chapter two explains the facets of Marx’s “philosophical” anthropology, explaining how Marx viewed the moral and social characteristics of humans. Chapter three highlights Marx’s ideas and works that explain his “empirical” anthropology, or the how he viewed the natural and biological determinants of human existence. Chapter four aims to explain the importance of modes of production and social relations to Marx’s theory of cultural change. In chapters five and six, Patterson incorporates

Theater has been a platform that has been used to deepen our communication and understanding of the complexities of the world around us. It teaches us through language, movement, and the establishment of intimate relationships that play to the contagious nature of emotions.

Seeing a live performance is an experience one will never forget. Watching a show, is like walking through a live, in motion museum. For example, “Newsies,” takes the audience through 1899 newsboys strike, revealing the reasons they rebelled and how children were able to take a stand and change their lives for the better. “Anne Frank,” allows the audience and actors to walk through the life of a young Jewish girl, in the time of the holocaust. No other art can match up to live theatre and compare to the history a play or musical can

yield in wealth of the yield they take as compensation for their attempts. This extra work has been portrayed by Marx and others as surplus work. The extra thing made by surplus work was portrayed as surplus thing. Additionally, the social estimation of the surplus thing (as regularly chose in market exchange associations) was portrayed assurplus regard. Shortly we have most of the fixings critical to a by and large strict significance of class process. Class process is the social method that results in i) people performing surplus work, ii) the surplus things (of this work) being appropriated and iii) the movement of the surplus regard (fit as a fiddle or in monetary edge) to other

Upon reading the essay topic, I was planning on playing devil’s advocate - I was going to write about how I believe there is very little truth behind theatre. In fact, I thought I had a relatively convincing argument. Theatre is the art of storytelling manifested on the stage through the means of an actor portraying a character; this is to say they are pretending to be somebody which they are not. In this sense, there is a lack of truth. I was to argue that phenomenology has more to do with the significance a spectator places on an event/word/action/etc. than any contribution made by the actor. However, I had developed this idea prior to watching Rodenburg’s video and soon came to realize that this opinion is not only both misinformed and ignorant, it is disrespectful to those responsible for the creation of theatre, as well as any person who has ever felt any sort of emotion while spectating a performance piece. For the purpose of this essay, I will start by defining phenomenology and discussing Martin Heidegger’s theory of presence and truth. This will be followed by a reflection on truth and presence and a connection with my own experiences in the theatre.

My perception of a theatre was not the most entertaining. I thought that this particular play was going to be plain boring. I thought that I was not going to enjoy anything and the only thing thing that I was going to get out of it was my paper score. My expectations were low because it is hard for me to like a play or any movie. To me, all movies and plays do the same basic performance, same start, same rising, same climax and falling, the only thing different would be the name. I Was a tough spectator.

My project medium consisted of three individual limerick poems that I chose to write about Marx, Weber, and Durkheim. Within each poem, I incorporated each sociologists name and included one of the main concepts that we discussed in class about them.

Durkheim and Marx ideas of law are completely different. For one, I understand as a citizen of this country that law is comprise with all aspects of our social life. The legal system is intertwined with the ideas, aims, purposes, and actions of society. It’s all about social control and social change, by setting out rules for society whether is positive or negative. The law has been in our nation developments for centuries, for the fear social chaos. That is the general thinking of law for any country but Durkheim and Marx go more in depth of who control laws and what is really comprise of.

The quote “All that is solid melts into air, all that is holy is profaned” comes from section one of The Communist Manifesto, by Karl Marx. The basic argument of this section is that all societies throughout history have been riven by class struggle, and there are just two basic classes, rather than many, as in earlier forms of society. These two classes are the bourgeois society, or current society, and the proletariat, or the repressed class. Marx believes that the proletariat strengthens, unite, and rebel against the bourgeoisie, and aim to end its rule and introduce a classless society.

Marx's theory of self consciousness I would describe as representative of the interrelation between the development of the individual and the community. As with Hegel, Marx's theory is anti-individualistic: the self is constituted only through its social activities, in which lies its

Firestone uses the analytical method of Marx and Engels to create a theoretical frame which includes issues of oppression based on sex. I found her distinction between what Marx and Engels specifically say about women and the family model and her theory of a greater understanding of how gender works dialectically and materially very helpful. I also connected with her assertion that issues of gender seem to pervade every part of social life and that “many women give up in despair…” because of how deep the issues go (Firestone 90). I think this statement is often true because accepting that patriarchy exists in such a multifaceted way can be overwhelming and disheartening. Moreover, I also appreciated the idea that “[b]efore we can act to change a situation, however, we must know how it has arisen and evolved, and through what institutions it now operates” (Firestone 90). This seems like an important way to bridge the gap between theory and activism. I think it is important for activists to consider the assumptions they are working under before they take action. Although I think a lack of action is a legitimate criticism of modern feminism, we still need to know what we are fighting for.

Though Marx’s theories were first conceived over 150 years ago, his work continues to be tremendously influential and is perhaps the most well known scholarship within the sociological canon. Despite their prominence, some of Marx’s most famous ideas have yet to be proven by the course of history. Neo-Marxists may insist that the revolution is coming, but the fact remains that the overthrow of capitalism has yet to materialize. I argue that the communist revolution has not yet occurred because the proletariat has been unable to develop the universal class consciousness that Marx asserts is a necessary condition for his predicted mass uprising. Additionally, I postulate that the theories of Weber and Simmel reveal the factors impeding

Theatre is a collaborative form of crafting, that uses live performers to present the experience of a real or dreamed affair, before a live audience in a specific place. The performers may well talk this specific knowledge to the audience through combinations of gesture, dialog, song, music, and dance. Elements of design and stagecraft are widely used to enhance the physicality, profile and immediacy of the experience.

4DX is the latest advancement of the movie theatre experience. 4DX technology delivers a cinematic experience that deeply involves all of the humans’ 5-senses and may create an altered mental state (changing the way one thinks about a movie). Cybernetic processes include the development of representations of reality. (Cox 1989:10) We has humans create a representation of reality through a connection in the mind. (Cox 1989:10). Inside the 4DX auditorium, when experiencing a movie motion chairs and environmental effects such as wind, fog, bubbles and scent work together in perfect synchronicity with the film shown on the screen. This interactive technology is putting the individual in a place away from direct experience of reality is seen to be helped by computer graphics and electronic image generation, resulting in a society of image simulation of the real world (Cox

Assessing The Applicability of Marx and Marxian Theory across the Economically Developed world of Europe, Japan, and America and the Relationship Between Capital, Labor, and Government across the Industrial Revolution, Depression, and Postwar Reconstruction.