Analysis of Marxist Critiques of Liberal Capitalism

Analysis of Marxist Critiques of Liberal Capitalism The standard litany of Marxist critiques of liberal capitalism rely on a common theme which presupposes that capitalism is fundamentally flawed and evil because it relies on a structure of exploitation, i.e., the bourgeoisie, those who own the means of production, ruthlessly exploit the proletariat, the individuals who sell their labor and do not own the means of production. Marx believed, essentially, that capitalist empires are built on the backs of the proletariat, who reap inadequate rewards for their work. He hypothesized that the essential difference between the various economic forms of society, between, for instance, a society based on slave-labour, and one based in wage-labour, lies only in the mode in which this surplus labour is in each case extracted from the actual producer, the labourer. (Marx, 1859[1967], p. 209) While well intentioned and valid in some ways, Marxists critiques generally fail on intellectual, practical, and empirical levels. The first intellectual failure is manifest in Marxs own quote, above, which presumes that wage-labor is effectively the same means of oppression as slave labor. This is only true if the proletariat serving as the labor have no means or hope of achieving ownership stake in the work that they do or the organizations for whom they do the work. Though it may have been true in 1859 when he wrote it, liberal capitalism has evolved, particularly in the United States, to the state of an individual-ownership society, where opportunities abound for individuals to assume a stake in the work that they do, not merely collect a paycheck for their labor.In Marxs mind, the only way for workers to free themselves from this slavery was to collectively own the means of production. The efficacy of this intellectual model has thus far been an abject failure in terms of the re sults when it has been attempted. On an empirical level, the simple truth is that the vast majority of governments that have been formed using Marxist or Communist theory have themselves tended to be exploitative disasters in comparison to the capitalist societies over which they were intended to demonstrate moral and economic superiority. The Soviet Union, which launched its Marxist revolution in 1917 under Vladimir Lenin, became a great economic and military power, but ironically did so only by exploiting its proletariat under the corrupt, oligarchic rule of totalitarian and in the case of Stalin, genocidal dictators who ruled with a combination of an iron fist and a vast, ossified bureaucracy. The Soviet Union collapsed under its own weight, a complete ideological failure, and its member states turned to capitalist economies and democratic forms of government. (To be fair, some Soviets, at the time of Lenins ascendancy, believed it was too soon to implement Marxist philosophies, since Marxs own requirement had not been met that the countrys capitalist economy had reached its evolutionary endpoint.) China, though still a viable nation-state which wields considerable economic power, has managed to avoid the Soviet Unions fate by introducing a considerable number of free-market elements into its state-controlled economy. Unfortunately, China shares the former Soviet Unions penchant for ruthless suppression of individual rights. The only other currently remaining bona fide Marxist/Communist state is North Korea, whose atrocious economic conditions, cultish culture of worship for its dictators, and lack of regard for individual rights, speak for themselves. That in 2005 Marxis m would have been so absent from the global political map would have been a heartbreaking blow to Marx, as would the fact that the only attempts at implementing his philosophies in their purest forms have led to brutal, totalitarian regimes which have arguably disrespected the proletariat as acutely as any unregulated capitalist economy. On a political level, Marx may have also underestimated the power of the marriage of democratic forms of government to liberal capitalist systems. In theory, at least, representative democracies are inherently structured to empower the proletariat by giving them participatory voice in the decision-making that goes into governing the economic systems of their nation. Democracy, as we know it today and as the pre-eminent form of government on the planet, was arguably still a relatively young paradigm as Marx was developing his theories. The primacy of the concepts of the worth and choice of the individual individual rights, individual freedoms is an inherently democratic notion which both contradicts the passive collectivism suggested by Marxism and also provides a built-in safeguard against capitalist excesses when they begin to favor oligarchies over individual rights. Democracy is unique in its ability to lessen ameliorate the harsher effects of unregulated market capitalism. When competitive markets are allowed to flourish unchecked, certainly great wealth is created, but Marxs critiques of exploitation become valid as monopolies and oligarchies spring up to choke off competition and create an environment in which the proletariat fail to benefit from the work they have put in on behalf of, for example, corporations. However, representative democracy has suffered the horrors of untempered market cycles and reacted accordingly. One of the best examples is the American Great Depression, in which a precipitous stock market crash in October 1929 set off an economic chain reaction that left tens of millions of Americans unemployed and in starvation. The collective clamor and cries of the proletariat prompted the elected government to take serious corrective measures over the next few decades to provide for means to temper the inherent boom and bust cyc les of free market capitalism, and to create a social safety net for the poor and the elderly (e.g. Social Security, guaranteeing retirement income to senior citizens). Similarly, in Europe, countries where the scourges of free market industrialism once ravaged the countryside, such as England, democratic systems of government have gradually eased their economies into socialist hybrids, market economies with considerable elements of state control and welfare systems to ensure the proletariat are well-cared for. Unfortunately, Marx either was unable to see the potential value of these future hybrid systems, such as market socialism, with their ability to compensate for inequities, or simply refused to believe in their viability because they failed to match his strident demand for idealistic purity within human interrelations: Even if such unjust inequalities were eliminated, Marx would still object to the quality of market social relations because they would continue to be predicated on a kind of self-seeking egoism contrary to the requirement of a true community. (Warren, 1998) On a psychological level, Marxist critiques of liberal capitalism also fail because they lack practical insight into how the human psyche operates and instead rely too heavily on utopian ideals of human beings operating idealistically on a collective level. Marxs theory of human nature is a biological fantasy, and we have the corpses to prove it. Which may drive us to wonder: if communism is deadly because it is contrary to human nature, does that imply that capitalism, which is contrary to communism, is distinctively compatible with human nature? (Wilkinson, 2005) The truth of the matter is that human beings are a hierarchically inclined species that thrive on power and competition. Left unchecked, these impulses can result in ghastly, fratricidal behavior, but when harnessed and properly channeled, these impulses form the heart of the free market economy, which thrives on individual initiative, healthy competition, and the quest for self-improvement and leadership. The psychological backbone of Marxist critique is the assumption of a perpetual state of victimhood on the part of the oppressed, which fails to take into account the inherent human tendency to resist oppression and reform existing systems into more egalitarian structures. In other words, Marxist-style revolutions may well be unnecessary, as the proletariat seems to frequently find ways within capitalist systems to assert their rights. People will always have their hunter-gatherer impulses, but this does not mean they are predestined to be deleterious: There is no way to stop dominance-seeking behavior. We may hope only to channel it to non-harmful uses. A free society therefore requires that positions of dominance and status be widely available in a multitude of productive hierarchies, and that opportunities for greater status and dominance through predation are limited by the constant vigilance of the peoplethe ultimate reverse dominance hierarchy. A flourishing civil society permits almost everyone to be the leader of something, whether the local Star Trek fan club or the city council, thereby somewhat satisfying the human taste for hierarchical status, but to no ones serious detriment. (Wilkinson, 2005) In the end, Marxism is a fundamentally pessimistic and pedantic philosophy, as are its critiques of liberal capitalism, which is a fundamentally optimistic and individualistic philosophy which endows each person with both the responsibility and the power to assume control of his or her own destiny and personal fulfillment. As sociologist Ellen Huang notes, under the lens of critical Marxist theories, inequality determines all human relations, and subsequently overemphasizes the oppressed nature of the colonized. Further abstractions of the dynamic of capitalism may overlook real forms of resistance, leaving utopian dreams as the only option for the oppressed. (Huang, 2003) Humanity is always in dire need of practical options rooted in dreams, not merely the dreams themselves, no matter how well intended they may be.

Surf Lifesaving Memorial

P1 †¢ Surf Life Saving Memorial Task To develop a memorial for the men and women contributing to the surf lifesaving association and culture Analysis of the siteBasic inspirations 1: Rolling swell 2: SLS primary colours3: â€Å"all seeing mentality† 1: Rolling swell 2: SLS primary colours3: â€Å"all seeing mentality† The proposed site is located at main beach and runs parallel to the Southport surf lifesaving club. Site dimensions equate to approximately 30 meters squared (5m by 6m). There are two walking paths positioned parallel to the northern and western borders.There is also a fence on the eastern border and a large pandanus tree just south of the site. The proposed site is located at main beach and runs parallel to the Southport surf lifesaving club. Site dimensions equate to approximately 30 meters squared (5m by 6m). There are two walking paths positioned parallel to the northern and western borders. There is also a fence on the eastern border and a large pandanus tree just south of the site. Design statement My design revolves around an â€Å"all seeing† mentality that is often associated with the SLS culture.Surf lifesavers protect people from the oceans unpredictable qualities and create a sense of security for beach goers. Watchful eyes ensure that nobody enjoying the wonders of a beach has to deal with dangerous or life threatening situations. As I progressed through my design I intended to keep this in mind at all times. The whole structure, excluding the metal support poles, will be constructed out of thick coloured sheets of soda lime glass. This particular type of glass was chosen due to the malleable and durable qualities that it offers.The centre piece will be a hollow and transparent piece of ocean blue glass. The top surface will be glass blown in accordance to the disks at either end of the design and will resemble the motion of rolling swells. All four glass disks will be identical in form but vary between yello w and red in colouration. The colouring of this design was chosen to commemorate surf lifesavers in a literal sense. Red and yellow to match the organizations primary colours and blue like the ocean.However, the symbolic meaning behind this design is far more potent and should evoke a strong feeling of security in those who view and consider the actual meaning of my memorial. The disk at the back will be used to look through and the three disks at the front will create a panoramic outlook onto Southports beachfront. This will metaphorically let people see â€Å"through a surf lifesavers eyes† and should remind observers that they are safe at the hands of lifesavers. Keeping an eye on the beach is a fundamental aspect of SLS and my design symbolically mirrors this important temperament.Plasticine models Figure 1. 1 Figure 1. 2 Figure 1. 3 Figure 1. 4 Design process The plasticene models shown on the previous page are an ordered process of my design. Figure 1. 1 was my initial concept and as you can see it incorperated the idea of an â€Å"all seeing metality† (two cylindrical shapes stemming off of an all seeing eye. ) This concept was discarded due to apprehensions regarding the eye.Although the eye and two viewing cylinders do commemorate surf lifesavers, I came to the conclusion that the design did not symbolically embody surf lifesavers. In Figure 1. 2 I was leaning more towards the idea of the ocean as well as an â€Å"all seeing mentality†. The wave was again a representation of SLS that is too literal. Figure 1. 3 was where my final design started to come together, the concept of an enclosed glass structure started to take form and the intention behind this design was ultimately to give people a view through â€Å"a surf life savers eyes†.By the time I had made my fourth and final model (Figure 1. 4) It can be seen that the shape and form were very similar to my final concept sketches and computer generated proposals. Technic al drawings with dimenentions Figure 2. 1 Figure 2. 1 Figure 2. 1 Figure 3. 2 Figure 3. 2 Figure 3. 1 Figure 3. 1 In figure 2. 1 there is a picture of a human placed next to the front and side projections. This gives us an idea of scale in regards to design size. The proposal is 2000 mm In height and 5000mm in length.From the human scale we can see that the viewing disk at the back of the design will be at eye level for most average heighted people. This is a key design feature considering the whole purpose of the proposal is to let people view the beach through the glass design. Figure 3. 2 is a rendered image taken from the back end of my design, it’s an interesting image in the sense that it actually gives us an idea of what it would look like to look through my proposal, the only difference being that one would see Southports beachfront as a background rather than an autodesk inventor background.Figure 3. 2 is a rendered image taken from the back end of my design, it†™s an interesting image in the sense that it actually gives us an idea of what it would look like to look through my proposal, the only difference being that one would see Southports beachfront as a background rather than an autodesk inventor background. Figure 3. 1 is a rendered image of the front end of my design in a perspective view. Figure 3. 1 is a rendered image of the front end of my design in a perspective view. Figure 3. Figur Development sketches (journal work) Additional rendered images Surf Lifesaving Memorial P1 †¢ Surf Life Saving Memorial Task To develop a memorial for the men and women contributing to the surf lifesaving association and culture Analysis of the siteBasic inspirations 1: Rolling swell 2: SLS primary colours3: â€Å"all seeing mentality† 1: Rolling swell 2: SLS primary colours3: â€Å"all seeing mentality† The proposed site is located at main beach and runs parallel to the Southport surf lifesaving club. Site dimensions equate to approximately 30 meters squared (5m by 6m). There are two walking paths positioned parallel to the northern and western borders.There is also a fence on the eastern border and a large pandanus tree just south of the site. The proposed site is located at main beach and runs parallel to the Southport surf lifesaving club. Site dimensions equate to approximately 30 meters squared (5m by 6m). There are two walking paths positioned parallel to the northern and western borders. There is also a fence on the eastern border and a large pandanus tree just south of the site. Design statement My design revolves around an â€Å"all seeing† mentality that is often associated with the SLS culture.Surf lifesavers protect people from the oceans unpredictable qualities and create a sense of security for beach goers. Watchful eyes ensure that nobody enjoying the wonders of a beach has to deal with dangerous or life threatening situations. As I progressed through my design I intended to keep this in mind at all times. The whole structure, excluding the metal support poles, will be constructed out of thick coloured sheets of soda lime glass. This particular type of glass was chosen due to the malleable and durable qualities that it offers.The centre piece will be a hollow and transparent piece of ocean blue glass. The top surface will be glass blown in accordance to the disks at either end of the design and will resemble the motion of rolling swells. All four glass disks will be identical in form but vary between yello w and red in colouration. The colouring of this design was chosen to commemorate surf lifesavers in a literal sense. Red and yellow to match the organizations primary colours and blue like the ocean.However, the symbolic meaning behind this design is far more potent and should evoke a strong feeling of security in those who view and consider the actual meaning of my memorial. The disk at the back will be used to look through and the three disks at the front will create a panoramic outlook onto Southports beachfront. This will metaphorically let people see â€Å"through a surf lifesavers eyes† and should remind observers that they are safe at the hands of lifesavers. Keeping an eye on the beach is a fundamental aspect of SLS and my design symbolically mirrors this important temperament.Plasticine models Figure 1. 1 Figure 1. 2 Figure 1. 3 Figure 1. 4 Design process The plasticene models shown on the previous page are an ordered process of my design. Figure 1. 1 was my initial concept and as you can see it incorperated the idea of an â€Å"all seeing metality† (two cylindrical shapes stemming off of an all seeing eye. ) This concept was discarded due to apprehensions regarding the eye.Although the eye and two viewing cylinders do commemorate surf lifesavers, I came to the conclusion that the design did not symbolically embody surf lifesavers. In Figure 1. 2 I was leaning more towards the idea of the ocean as well as an â€Å"all seeing mentality†. The wave was again a representation of SLS that is too literal. Figure 1. 3 was where my final design started to come together, the concept of an enclosed glass structure started to take form and the intention behind this design was ultimately to give people a view through â€Å"a surf life savers eyes†.By the time I had made my fourth and final model (Figure 1. 4) It can be seen that the shape and form were very similar to my final concept sketches and computer generated proposals. Technic al drawings with dimenentions Figure 2. 1 Figure 2. 1 Figure 2. 1 Figure 3. 2 Figure 3. 2 Figure 3. 1 Figure 3. 1 In figure 2. 1 there is a picture of a human placed next to the front and side projections. This gives us an idea of scale in regards to design size. The proposal is 2000 mm In height and 5000mm in length.From the human scale we can see that the viewing disk at the back of the design will be at eye level for most average heighted people. This is a key design feature considering the whole purpose of the proposal is to let people view the beach through the glass design. Figure 3. 2 is a rendered image taken from the back end of my design, it’s an interesting image in the sense that it actually gives us an idea of what it would look like to look through my proposal, the only difference being that one would see Southports beachfront as a background rather than an autodesk inventor background.Figure 3. 2 is a rendered image taken from the back end of my design, it†™s an interesting image in the sense that it actually gives us an idea of what it would look like to look through my proposal, the only difference being that one would see Southports beachfront as a background rather than an autodesk inventor background. Figure 3. 1 is a rendered image of the front end of my design in a perspective view. Figure 3. 1 is a rendered image of the front end of my design in a perspective view. Figure 3. Figur Development sketches (journal work) Additional rendered images

Inception Reflection Essay

After watching inception twice I am still confused as to what was real and what was not. I have come to the conclusion that the entire movie was Cobb dreaming. I believe this because Cobb’s totem used to be his wife’s totem. He only retrieved the totem when they were stuck in limbo. He said never to let anyone else feel the weight of your totem. Meaning that he himself has no way of knowing the actual weight or feel of his wife’s totem. In other words Cobb has no totem, no way of knowing what is real and what isn’t. The totem only shows Cobb what he wants to believe. Since the entire movie was a dream of his making, his subconscious may have led the totem to drop/ wobble when he wanted to believe he was in reality. I believe that Cobb’s wife Mol was the one trying to pull them back to reality. Mol kept trying to draw him out when in reality he kept falling further and further. Cobb didn’t join Mol in jumping off the building to get into reality. Cobb has been dreaming for so long and so deep that he has lost reality. The main reason I believe Cobb has been dreaming all along is because of the ending. When Cobb thinks he has arrived back to reality and back to his children, they are wearing the same clothes, and in the same position as he last saw them. He became suspicious and spun the top. Cobb finally saw his kid’s faces and walked away from his totem. Seeing his kid’s faces was enough reality for him. Cobb created his own reality. He formulated the entire dream to justify his belief in what was real and what wasn’t. He needed the elaborate dream to lead him back to his children which signify his reality. With that being said, I believe the movie argued for idealism. Cobb’s reality was based on the mind. If the totem had not been his wife’s, and had not been found in a dream, I would have argued for realism. Because the material thing, or totem, would be what determines reality. The top was supposed to keep spinning in a dream, and wobble or drop in reality. However as stated before Cobb found the totem in a dream, and it wasn’t even his totem, therefore it holds no significance in determining reality. With my interpretation of the entire movie being a dream of Cobb’s, the movie would have to be based on empiricism. Cobb experiences things that I don’t believe were reality yet he takes them to be true. For example, if the movie was in fact all a dream of Cobb’s, then his wife’s suicide was just a projection of his imagination. Yet as he dreams deeper he believes it to be true. Cobb’s knowledge is based on experience because really there is no reason or rational to rely on when your dreaming within a dream within a dream within a dream, etc. Like Cobb said, once you make it down to limbo it is hard to sense what reality is. Cobb’s only grip on reality is his totem, which I explained before, was never really his in the first place. He has no reason. He only has experience to rely on. His experiences in his dreams become his reality. What reason do you have to cling to when the biggest determination of reality(the totem) isn’t real. In the end when Cobb see’s his children’s faces, the experience of being with them is all he needs to justify reality. Hence why he walks away from his totem. Cobb’s experiences within a dream are what formulate his reality. If it was reason that formulated his reality, he wouldn’t be in limbo anymore. He would have listened to his wife and figured out that he is still dreaming by now. He would have never accepted that totem as his own. I would like to argue both pragmatic and coherent theories for my take on Inception. However, I do believe the coherent theory fits a little better. The coherent theory states that something is true if it is consistent with other beliefs that are held to be true. The problem in this theory is that there is no definition or criteria of what a logical belief is. Cobb thinks his wife is stuck in limbo and that he is in reality. Basically any thought that he has that coheres with that main thought is true. Him believing he was hired to plant an idea in Fishers mind was in fact true to him. The capability of planting an idea in someone’s head was true to him. Why? Because his core belief was that he himself had planted an idea in his wife’s head before, causing her to lose touch with reality. All belief’s Cobb had were consistent with his main belief, that he was not longer in limbo. Cobb believed that the totem actually did tell him when he was or wasn’t dreaming. However as stated before the totem wasn’t his to begin with so how could that be true? How could it be true that when the totem wobbles or falls he is in fact in reality? He found the totem in limbo, so he doesn’t know what the true weight or feel of that totem is. Yet he believes in this totem because he needs to. His mind has created a scenario to help him retrieve what he craves, reality. The elaborate dream and all of his truth’s cohere in order to get him back to happiness. Although Cobb may not be in reality, his belief of being so is enough to satisfy him. Cobb’s mind created what he wanted to believe was reality. I guess if you have no grip on reality anymore, creating the closest thing to it would be your best shot at happiness.

An Analysis of the Effects of Framing - Free Essay Example

Sample details Pages: 4 Words: 1064 Downloads: 4 Date added: 2019/03/19 Category Art Essay Level High school Tags: Film Analysis Essay Did you like this example? Lighting Due to the nature of colorless visual works, it can be said that the importance of lighting and shadows are amplified many times over in the case of Casablanca. Since the audience does not receive the luxury and sensation of numerous hues, an alternative is thus required on the part of the filmmakers. And with that, an analysis of filmic lighting comes into play. Immediately following the opening credits, the screen is engulfed by a planet Earth nearly as black as charcoal. Paired with the music in this initial image, the light or lack thereof helps to establish the mood of the entire film. It can be said that this portrayal foreshadows the coming chaos and solemnity of later scenes such as when Ilsa abruptly abandons Rick upon receiving news of her husband being alive, or in more general terms, the majority of the encounters between Ilsa and Rick as they do not even end up together at the very end. As for a specific analysis tied to the nature of black and white films, the scene in which Sam gives Ilsas letter to Rick is one that cannot easily be forgotten. Don’t waste time! Our writers will create an original "An Analysis of the Effects of Framing" essay for you Create order With the rain that day, the ink on the paper was already smudged by the time Rick read the message. Despite the obvious indication that the writing and smudges were both in and of ink, the nature of colorless shots allows for the imaginations of the audience to take them away. The color of blood in a black and white film is so dark that it might as well be the color of tar or ink. Thus, smudges of blood on the paper could indicate the physical pain on both sides for the separation. Perhaps the best example of emotional appeal to an audience on the part of Casablanca is the singing of the patriotic French anthem Marseillaise as the mother of film critic J. Hoberman witnessed people standing up during that scene to sing along in a public theater. Thus, this sort of patriotic involvement on the part of this film really goes a long way in appeal to audiences. However, with specific ties to lighting, there is appreciation to include. During a later visit to Ricks bar, Ilsas husband, Victor Laszlo spontaneously gets the band to start playing a French anthem by the name of Marseillaise. What is interesting to note here though is not anything that Laszlo did, but how he was physically portrayed during the song. Although he wasnt in the center of the frame, he was nonetheless the first one the audience would notice because of the lighting shining on him. Moreover, this light was not anything like a single spotlight as it did not shine from above, but it lit up Laszlos entire figure and only his figure to make him stand out amongst the singing crowd as a major character. The theme of isolation pops up again in this context, but unlike most instances, this time it is with a positive connotation. As a dynamic character, Ilsa Petrovich is one for which the filmic technique of lighting plays a great role. Most of the shots were taken from her left side with a catch of the light, so that her eyes could look like they were shining. For example, following the instance where she first enters the bar, Ilsa practically begs Sam, the pianist and one of Ricks closest friends, to play a song she and Rick used to love:   As Time Goes By. As she pleads with him after he refuses the initial request, one can make out small but vividly apparent balls of light in her eyes. If one thinks about   shining eyes perhaps one may think of emotions such as excitement or sincerity, and there is nothing incorrect in that connection. However, for this specific instance and others similar to it throughout the film, Ilsas eyes could be seen as shining with tears just not actual tears. It is possible that the filmmakers intended to subtly incorporate this idea to exhibit the filmic theme of lost love. Ilsa lost a loved one through her action of leaving Rick behind in Paris. Despite her desire and eventual decision to reunite with her husband, or in other words her first love, she indeed loved Rick at one point in time, and there is pain associated with the loss of any loved one regardless of whether the love is that of the past or present. The gown that Ilsa wears in a shot within Ricks flashback can be noted in close comparison to the portrayal of her eyes: shiny with the correct use of lighting in the scene. Interestingly enough, since this is an instance found in a flashback from when Rick and Ilsa were still together, it could in no way directly result from the point where she deserted him, but it could be of no doubt an occasion of foreshadowing the feelings resulting from lost love the both of them were about to experience. In contrast to the light with which Ilsa was portrayed, spots of shade and darkness added in connections to several other characters, major and minor, were indicative of isolation, another theme inherent in Casablanca. The clearest example of this is perhaps the instance in which Rick sits down with a drink after closing hours, without the ability to stop thinking about his encounter with Ilsa after such a long time. Shortly after this shot, flashbacks follow suit. There is a hazy transition to and from the flashback that emphasizes the mindset with which Rick recalls his past with Ilsa: drunkenness paired with a sense of longing. More importantly, the flashback as a whole is the primary component in the overall plot that aids the audience in understanding the entire backstory of why Rick reacted the way he did at the sight of Ilsa in his bar. Moreover, the theme of betrayal is illustrated quite vividly in those memories initially of bliss but then of pain, unexpected and raw. The wide variety of different lighting equipment, shadows and shades used in the film were all of a classic nature in consideration of black and white films. Moreover, the way of applying the background surroundings as a frame of the various scenes made the film seem more professional, which leads the analysis to the next topic of discussion: framing.