SCUM Manifesto

Karl Marx's Estranged Labor In Karl Marx's early writing on "estranged labor" there is a clear and prevailing focus on the plight of the laborer. Marx's writing on estranged labor is an attempt to draw a stark distinction between property owners and workers. In the writing Marx argues that the worker becomes estranged from his labor because he is not the recipient of the product he creates. As a result labor is objectified, that is labor becomes the object of mans existence. As labor is objectified

The Communist Manifesto      Marx describes the problem in great detail in the first chapter. He feels there is a problem between the bourgeoisie and the proletarians. The bourgeoisie were the oppressed class before the French Revolution and he argues that they are now the oppressors. The proletarians are the new working class, which works in the large factory and industries. He says that through mass industry they have sacrificed everything from the old way of religion

Mexican Social Realists and Harlem Renaissance Poverty has always been an issue throughout centuries. In most areas living conditions were horrible due to wars, and corruption within cities and states. Most families lost their male sons to the draft of the war at the ages of 6 years or older. Families struggled and did what they had to, to maintain a home as well as food for their families. Because of this Social Realism was successful. Social Realism was an international movement that many

show a writer’s reflection on facts and reasons he or she received, and are extensions of those facts and reasons, rendering the work interesting and even more convincing. In three famous and classic works, On Liberty, Hard Times, and The Communist Manifesto, we can see how writers combine facts with fictions and compose excellent works. I. On Liberty by John Stuart Mill In his work On Liberty, Mill starts from historical facts, analysing facts using his reasons and gets his conclusions; then, changing

perspective on freedom entirely). Throughout the term nearly all the books had a theme of freedom, however, five stood out in particular Democracy and Its Global Roots by Amartya Sen, On Liberty by John Stuart Mill and The Republic by Plato, The Communist Manifesto by Karl Marx and Frederick Engels and Omelas by Ursula le Guin. Throughout the semester Human Experience gave me the opportunity to branch out

In 1925, the original surrealists forged a clear and resounding document, stating, among other things, that the surrealist movement is a revolution, unarguably. They asserted that their movement was not one of poetic form. Furthermore, that it was not even a literary movement. They firmly established, in the infancy of Surrealism, that it was not an aesthetic endeavour. It was “a revolution of the mind.” Surrealist actions and thoughts function “in the absence of any aesthetic or moral concern.”

Surrealism. Surrealism moved beyond reality and looked to dreams instead of logic to create a ‘true’ reality. It was André Bretons, “The Surrealist Manifesto” that first sought to unify the reality of the mind with the reality that surrounds us. Surrealist theatre reflected a belief that the unconscious mind is a source of artistic truth. In his manifesto on surrealism, Breton (1924)

The Effects of Karl Marx's Communist Manifesto on Human Values What was it like living in the times before the Communist Manifesto was introduced to society? What kind of affect did this document have on the values of the average family? How did it influence the values of the individual? Sometimes these values where affected in a way that does not come directly from the release of the Manifesto but instead vicariously through other events brought on by the document. Overall, an interesting

FUTURISM Futurism (lat. Futurus = future) was a movement in literature, visual art, fashion, architecture, theatre, music and film in the early 20th century, launched by Italian poet Filippo Tommaso Marinetti. Futurism appeared as a fervent denouncer of the past. Italian art represented the past Ancient, Renaissance and Baroque art and culture. In the early 1900s, Italian artists and writers believed that the “Machine Age” could have changed the situation and develop into a new awareness. F. Marinetti

As a Surrealist pioneer, Ernst’s art displayed some of the most radical and unorthodox imagery in the early 1920s. Violence and pain were perhaps the most avant-garde elements of Ernst’s art, and this perception is on full display in one of Ernst collages displayed during Breton’s Paris Au Sans Pareil exhibition, The Preparation of Bone Glue. It depicts “a diathermy process in which an electrical current treats joint ailments” (Kavky 2012); his use of violence and pain as “both cause and cure intensifies