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Marxist aesthetics is a theory of aesthetics based on, or derived from, the theories of Karl Marx.It involves a dialectical and materialist, or dialectical materialist, approach to the application of Marxism to the cultural sphere, specifically areas related to taste such as art, beauty, and so forth.
Marx returns to the dehumanizing effects of capital in the second half of this section. [73] He discusses the declining rate of interest and the abolition of land rent, as well as the question of the division of labor. [74] In the next section on money, Marx quotes Shakespeare and Goethe to argue that money is the ruin of society. Since money ...
None of this early work was published during his lifetime. [44] The love poems were published posthumously in the Collected Works of Karl Marx and Frederick Engels: Volume 1. [45] Marx soon abandoned fiction for other pursuits, including the study of both English and Italian, art history and the translation of Latin classics. [46]
Marx/Engels Collected Works (also known as MECW) is the largest existing collection of English translations of works by Karl Marx and Friedrich Engels.Its 50 volumes contain publications by Marx and Engels released during their lifetimes, many unpublished manuscripts of Marx's economic writings, and extensive personal correspondence.
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The State Emblem of the Soviet Union had the slogan emblazoned on the ribbons in 15 languages spoken in the republics The tomb of Karl Marx at Highgate Cemetery bearing the slogan "Workers of All Lands Unite" The slogan inscribed in four languages on a wall behind the Karl Marx Monument, Chemnitz, Germany
Marxist literary criticism is a theory of literary criticism based on the historical materialism developed by philosopher and economist Karl Marx.Marxist critics argue that even art and literature themselves form social institutions and have specific ideological functions, based on the background and ideology of their authors.
One book on aesthetics, The Philosophy of Art of Karl Marx, was published in English translation in 1938, and republished in 1980. Starting in the 1990s, Lifshitz acquired new popularity among the Nationalist circles in Russia, who appreciate his critique of "Western Modernist art", and his defence of traditional art.