¶ … Psychology of the Bigot -- the Anti-Semite vs. The Racist
In "Anti-Semite and Jew," the existentialist philosopher John Paul Sartre, a gentile, analyzed the psychology of an anti-Semitic individual who hates Jews. He did so from the perspective of an outsider to the group he was examining over the course of his essay, as well as attempting to plumb the psychology of the 'insider' of this group. In "The Fire Next Time," James Baldwin examined the American racist's perspective from the point-of-view of the object of racial hatred and ostrication, namely his own perspective as a Black man in America. Both, however, attempted to relate the psychology of hatred to larger political concerns, in Sartre's case that of a biased and class-oriented French society, and in Baldwin's case that of the Cold War, which he suggested caused the fear of tragedy to intensify racial divisions in America.
At the beginning of Sartre's text "Anti-Semite and Jew," the Gallic author Sartre stated that the psychology of the bigot, specifically the anti-Semite...
He later wrote that their tribute reminded him of the "nation-wide" support he had received in 1913 in his fight against the "reds." (Valkenier, 1978, p. 28). The Russian Revolution also introduced an entirely new art form. It is thought that the period following the Bolshevik Revolution until the middle 1920s was progressive and at the forefront of the European avant-garde. Artists believed in the profound influence they could have
Politics, literature and the arts -- Transformation, Totalitarianism, and Modern Capitalist life in Franz Kafka's "Metamorphosis," Fritz Lang's "Metropolis," and Albert Camus' Caligula At first, the towering heights of the German director Fritz Lang's "Metropolis" may seem to have little to do with the cramped world of the Czech author Franz Kafka's "Metamorphosis." Fritz Lang portrayed a humanity whereby seemingly sleek human beings were dwarfed by towering and modernist structures, where
Politics, Literature & the Arts: Modernism has been discussed as a reaction to modernity: from the following works, is this a fair description? Modernism is often defined as a chaotic, pastiche-style of rendering the difficulties of modern, industrialized life. The attempted regimentation of modernity becomes, in modernism, exposed for the absurdity that it is through the surrealist and other modernist aesthetics, such as the improvised jazz riff. For example, in the
However, Mohr, once again became defensive and proposed that this flask was a way that brothers help the world to visualize the different occupations found at that time. In short, the pottery by Kirkpatrick brothers conveyed many messages. It held a lot of importance during that time. In fact, the pottery acted as a political messenger and conveyed many messages which would have otherwise would have remained untapped. For Mohr,
jazz and the culture industry? Is Adorno simply an elitist or is there something useful you can appropriate from his argument? What connections can you draw from Benjamin and the "Andalusia Dog?" Theodor Adorno was clearly inspired by Walter Benjamin, from whom he founded his philosophy of modern art, versus fine or popular art. Adorno constructed a theory of the modern art movement, as embodied in such early surrealist films
public sphere and the culture industry: has the former been fundamentally corrupted through the latter? Are there new possibilities that the culture industry has to offer politics? The public sphere of artistic discourse is one in which, according to Theodor Adorno, the culture industry sells its commodity goods that masquerade as truth and art. Where the media and world of art should speak to a kind of anti-structured and individualistic
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