Opposing Oppenheimers
Heinar Kipphardt’s In the Matter of J. Robert Oppenheimer recounts the trial of one of the most prominent physicists in history. Oppenheimer, often called the father of the atomic bomb, was summoned before the Atomic Energy Commission in 1954 and interrogated on his loyalty to the United States.
We Didn’t Start the Fire
“Are you one of the good guys?” (McCarthy 282). The father-son odyssey of The Road is consumed by constant searching for food, shelter, or safety. The father is searching for something else, as well, something intangible but just as necessary for a different kind of survival.
Mulvey vs. Carter: The Power of the Gaze
Both Laura Mulvey and Angela Carter are well-noted female writers in the 1970’s that have talked about feminism through their writings. In Mulvey’s famous article “Visual Pleasure and Narrative Cinema,” she talks about how most popular cinema tends to express patriarchal views through various male gazes using the method of psychoanalysis to explain how and why men, both within movies and the viewers, react the way they do.
The Communist Manifesto and its earlier drafts: Further explanation, or simply an ignorance of the truth?
Inspiring a movement is not only a difficult, but a lengthy process. The perfect combination of motivation in the population, necessity for change, as well as belief that a particular movement will improve the peoples’ lives will create the necessary force to drive a revolution.
Voices Rolling in the Deep
In writing Austerlitz, Sebald endeavours to tell a story that, in its scope and controversy, is harrowing to tell. Faced with the barbarism of the Holocaust and the impossible challenge of bringing its victims’ histories back from the dead, he manipulates both language and image to create the time and space in which the character of Austerlitz exists—a character whose journey simulates exactly what Sebald is attempting to do.
“He’s Coming To Steal My Eyes”: Vision, Survival, Connection, and Existence in Cormac McCarthy’s The Road
Sight is a profoundly important sense. Vision helps one navigate through the world, but it is also intensely emotional. It matters what we choose to look at, as well as what we allow to look at us, and it is terrifying when vision is obscured, for that not only puts one in danger but can also obstruct relationships as vision serves as a force of connection.
From Bodies Politic to the Body Politic: A Modus Operandi for a Modus Vivendi
The Hobbesian state of nature both begins and ends with human nature. While Thomas Hobbes’ Leviathan is widely regarded as advocating a pessimistic view of human nature, Hobbes’ pessimism is not directed towards human nature, but towards the state of nature.
Technicolour Ideals: The Poison-Saturated Society of Plath’s The Bell Jar
Colour permeates Esther Greenwood’s narration in Sylvia Plath’s The Bell Jar. Esther often articulates her visual perception in vivid colour. She particularly emphasizes the aesthetic of a film she watches with the Ladies’ Day girls. The film is in technicolour; its colours are saturated.
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The ability to embrace femininity has always been a uphill battle in relation to the issues women have dealt with in Western society: in recent years, liberating ourselves through our sexuality has become apparent through movements like “SlutWalk”, a march that demands an end to rape culture, or even “free bleeding”, in which women refuse to hide their menstruation by allowing themselves to bleed without the help of tampons or other methods of concealment.
The Decolonization Manifesto: Marx and Muslims
In The Wretched of the Earth, Frantz Fanon enhances a Marxist analysis by addressing the intersections of race, colonialism and capitalism. Fanon uses the terminology of Marx and Engels but applies it in different ways. By ‘stretching’ Marxist analysis, Fanon makes it relevant to decolonization (Fanon, 5).