Capitalism and Marxism Essay Example | Topics and Well Written Essays - 1250 words

Capitalism and Marxism - Essay Example (Elson 1998, p. 53) In view of the Marxist globalization has been seen as an expansion or development of capitalism in the world. Like other traditional works that were seen to fit in a loose framework of anti-globalization, Marxism may not be described as a single movement nor can it be described as following a unitary intellectual practice from a theoretical perspective. In this case we should understand that Marxism as whole has been engaging with contemporary phenomena in a way that the manner and the mindsets that it has been postulating in the past has been evidence in class, political economy, labor, capitalism and in many other socialism concepts and revolution described as the central axis of globalization. (Ollman 1998, p.87) With the end of communism in Eastern Europe in the 1990s, and the consequent embrace of the capitalism like in the Peoples Republic of China, has been expressed as the end of the Marxism's period. Regardless of the fact that the world has embraced the capitalism economies, Marxism still present a poignant and painful way of accounting for globalization. This has been witnessed in what is happening in the aftermath of the wave that took the world from 1990s. Marxism has been expressed in many areas like the free-markets, oppressed and exploited labor, modernization, and many other reforms that have been carried out in the political, social and economic systems of the world. Globalization has been described as increased interaction of the world or the opening up the world. In the last few decades there has been increased movement of people and goods. There has been emergence of new market. Therefore globalization has been a tendency to create a unipolar world though it has been expressed mostly in economic terms. It is increased integration of the political, social and economic factors. (Beams, 19980 Marxism and globalization in view of capitalism Capitalism which was so much argued about by Marxism has been one of the most important pivots that have led to the wave of globalization. There have been increased movements of capital across borders leading to immense change in the way we do things and the way we produce things. Globalization therefore can be seen as a cosmopolitan character which signifies production and consumption in all countries. Globalization places the local and the national conditions in terms of self sufficiency and the creation of the universal system of interdependences. As capitalism takes over the world under the nose of globalization, it has led to smash the border of feudalism and mercantilism. Capitalism is therefore ever moving and ever-changing. It forces human being to change their reality and their own role in the world. (Fredrick 1975, p. 4) According to Marxism socialist revolution was described to occur out of development of the product forces which run into conflict with the social relations of capital. In this case Marx explains the negative effect that can be brought about by the forces of capitalism. Marx tried to show the creative-destructive forces of capitalism which is very well tied together with reason of economic advancement of the world. Therefore Marxism expressed that these creative destructive forces goes beyond history of establishment of the socialism society. One

Configuring Static and Default Routes Essay Example for Free

Configuring Static and Default Routes Essay Write a paragraph (minimum five college-level sentences) below that summarizes what was accomplished in this lab, what you learned by performing it, how it relates to this week’s TCO’s and other course material; and just as important, how you feel it will benefit you in your academic and professional career. (10 points) Copy and Paste the following screenshots from your Configuring Static and Default Routes lab below. Task 4, Step 1: Paste a screenshot AFTER you execute the â€Å"show ip route† command. (2 points) Question: What is the significance of the â€Å"R*† next to the 0.0.0.0 network entry? What does it mean? (3 points) *Hint* Read and study the explanations within the lab for assistance. The R means that it got that information from the RIP command and the asterisk means that it is the default network. Task 4, Step 2: Paste a screenshot AFTER you execute the â€Å"show ip route† command (2 points) Question: What is the significance of the â€Å"S*† next to the 0.0.0.0 network entry? Explain the differences between the entry in Router3’s route table and the 0.0.0.0 entry in Router2’s table. (3 points) *Hint* Read and study the explanations within the lab for assistance. The S means that it is a static address and the asterisk means that it is the default. Task 5, Step 1: Paste a screenshot AFTER you execute the â€Å"ping† command (2 points) Question: What is the significance of the five exclamation points? (3 points) *Hint* Read and study the explanations within the lab for assistance. The five exclamation points are because it doesn’t have a direct route it is using the default route from the RIP. Task 5, Step 2: Paste a screenshot AFTER you execute the â€Å"trace† command. (2 points) Question: What is the significance of the milli-sec time references in the trace responses? (3 points) *Hint* Read and study the explanations within the lab for assistance or do a little Internet research. That is used to see how quickly the packets are sent and received.

Forrest Gump: Marxist and Feminist Analysis

Forrest Gump: Marxist and Feminist Analysis In the 1990s, Paramount Studio produced some box-office hits and one of which, Forrest Gump, is a huge triumph that won the Oscar for Best Picture for 1994 and gained over $677 million dollars of box office throughout the world. The film is based upon the novel by Winston groom and directed by Robert Zemeckis; it portrays the leading role Forrest Gump (played by Tom Hanks), who is a normal American guy, with an IQ of 75 so called as idiot, but successfully getting through his bittersweet childhood, brilliant football career at collage, and brave performance in the army as well as a fortune in his shrimping business. Forrests story truly inspires the entire American with his significant achievements and positive attitudes towards life; in addition, the film reveals a history of America over the past decades in which take numerous historic events, representing the eventual American dream in a land of opportunity. Forrest Gump is wholly masculine film and Forrest Gump is no doubt the protagonist, two important females, his mother Mrs. Gump and his best girl friend ever Jenny, however do present their thoughtful images in the film, making a great impact on Forrests interior world and life. Accordingly, this article would like to concentrate on the above-mentioned women and explore how they influence Forrest with their unique characters and values. Furthermore, a deeper level of examination linked to patriarchal myths and values in social context will be also proposed to demonstrate the status of the 1990s American society. With the intention of arguing these points, some film theories should be certainly applied to the narrative in Forrest Gump. It has been predominant since the 1970s that film critics and scholars have turned from semiotics to psychoanalytical notions that been broadly utilized into the film analysis. Consequently, it is crucial indeed to employ these methods into this article, theoretically addressing feminist debates in terms of the texts in Forrest Gump. Furthermore, it can see through how the hegemony is constructed in a patriarchal society in relation to feminism by the analysis within Marxism discourse. Representations of Women in Forrest Gump The two females are depicted in the film: one is Forrests mother Mrs. Gump (by Sally Field), who makes great contribution to Forrests life; the other one is Jenny Curran (by Robin Wright), as Forrest says about her: she was my most special friend, my only friend. In general, these two females can be identified as stereotypical representations of women with their social, cultural and sexual definition, extremely influencing Forrest into another representation of men in a patriarchal society as Hollows, Hutchings and Jancovich (2000, P230.) states that It is a historical fact that women have formed an important part of the audience for commercial entertainment films. Mrs. Gump appears to be a single mother of Forrest. According to how Forrest values his mum, she is a very smart lady, responsible, brave, and independent. She is good at managing her property inherited from her family, renting all the empty rooms to make a living. Regardless Forrests low IQ, Mrs. Gump still insists on her sons attending public school rather than a special school as she says that my boy Forrest is going to get the same opportunities as everyone else; She tells Forrest that stupid is as stupid does, encouraging Forrest growing up to a normal and confident person. On the other hand, she really understands that life is full of ups and downs, giving Forrest lessons such as life was like a box of chocolates. You never know what youre gonna get. To Forrest, Momma is always an excellent model he learns from. Even though she is dying, Mrs. Gump calmly says to her son its just my time Dont be afraid, death is just a part of life. Its something were all destined to do. I didn t know it, but I was destined to be your momma. I did best I could. Generally, the character of Mrs. Gump is a strong and independent female presence. However, her existence is more than for herself; viewing all the way through Forrests story, Mrs. Gump becomes a signifier of independence which can be seen as answering to male desires and anxieties. Claire Johnston (2000), one of the first film critics to recognize the film text as a semiotic sign system, develops Barthesian semiotic point of view into her feminist inventions that the woman exists as a structure in the text of classical Hollywood films:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Iconography as a specific kind of sign or cluster of signs based on certain conventions within the Hollywood genres has been partly responsible for the stereotyping of women within the commercial cinema in general, but the fact that there is a far greater differentiation of mens roles than of womens roles in the history of the cinema relates to sexist ideology itself, and the basic opposition which places man inside history, and woman as ahistoric and eternal. (2000: 23) In this respect, Mrs. Gump is a sign being considered as a structure or a convention. Whatever Forrest recalls his mother, for example, he always starts with words like Momma always said this or Momma always said that, which emphasis his mothers huge influence on him. The mothers amazing characteristics of perseverance, independence and kindness are taken by Forrest who can overcome any difficulties through his life. It proves a system of exchange in classical films that the representation of women as the ideological meaning is for men rather than women. Hence, as Cook and Johnston (1990) argues: The male protagonists castration fears, his search for self-knowledge all converge on woman: it is in her that he is finally faced with the recognition of lack. Woman is therefore the locus of emptiness: she is a sign which is defined negatively: something that is missing which must be located so that the narcissistic aim of the male protagonist can be achieved. Besides, Jenny presents her distinct aspect of the representation of women in Forrest Gump, who is depicted as an extremely confused character. She spends most of her life finding herself, always expecting that Dear God, make me a bird so I can fly far, far away from here. Young Jenny is abused by her drunken daddy and stays with Forrest just because she is scared of loneliness. After high school, they go to different colleges. In Forrests eyes, Jenny and he are just like peas and carrots since she friendly offers a seat on his first bus to school. However, the film mostly presents the dark, lonely and weak side of Jenny whom is totally unlike strong and independent Mrs. Gump; Jenny makes wrong decisions of being naked model for magazine, singing at a strip club and taking drugs when Forrest sets off his successful life; particularly, a couple of times she wants to suicide. No matter when and where, Forrest always attempts to rescue Jenny out of trouble through her journeys but ends up Jennys running away every time. Jenny is Forrests only love and he really does care about her, trying his best to protect her. Finally, they go together as what Forrest hopes when Jenny decides to settle down and marry Forrest. Mrs. Gump and Jenny play important roles with respect to Forrest but in completely different ways. The semiotic investigation into the myth of women in the film text clarifies the women as a structure and how they works as a signifier of ideology. Psychoanalysis Concepts and Spectatorship Issues Apart from theoretically examining the representation of women in Forrest Gump with the help of semiotics discourses, psychoanalytic theory is necessarily to be taken as a critical tool in order to clearly exemplify womens differences from men in terms of lack and castration as well as discuss spectatorship according to Hollywood classical cinema. According to Janet McCabe (2004), Psychoanalytic theory shifted from a semiotic concern with the text, to consider instead the unconscious processes involved in how the spectator is positioned in and through the film text (p.24). In this instance, Freuds and Lacans psychoanalytic approaches significantly contribute to feminist film analysis in terms of studying sexuality concerns within spectating practices. Drawing on Freudian theory regarding scopophilia, voyeurism and fetishism as well as Lacanian mirror phase, in her article Visual Pleasure and Narrative Cinema, Mulvey (1975) establishes her point of male gaze and demonstrates that film is structured according to male fantasies of voyeurism and fetishism. In Forrest Gump, the act of gaze employs a complex relationship between the characters, the audience and spectator. For example, during his childhood just before mum tries to enroll him to the public school, Forrest sits on a swing outside the house at night, hearing the principals grunts from inside the house. Forrest then grunts, imitating when the principal steps out, making him feel embarrassed. It is obvious that Mrs. Gump becomes an object for both the principal and her son to view, however, what reflect from them are varied: for the principal, she is an erotic impact and pleasurable looking; for her son, it seems his first time to recognize his mother does not own her penis but he previously assumes that she should have, so he thinks mothers one must have been castrated. The scene demonstrates Mulveys (1989) debate from a feminist perspective: it clearly conveys how male castration anxiety comes to be projected onto the female form, which is then appropriated as a fetish how w oman is represented adorned with phallic shapes (p 8). In addition, Forrests looking at Jenny throughout her journey displays Mulveys (2000) view of male gaze: woman plays a traditional exhibitionistic role her body is held up as a passive erotic object for the gaze of male spectators, so that they can project their fantasies on to her. For instance, Forrests sitting in the rain at night and staring at her kissing with a boy in the car make him in the position of passive voyeur; his another looking over Jennys breasts while she removes her bra in the dorm room presents Jenny herself as erotic spectacle for Forrest, then his active gaze renders her image into an object of sexual fantasy; before being sent to the War, Forrest comes to the night club, sitting in his seat in the same way as the spectator, watching Jenny and sharing with audience in the cinema his anxious gaze when she is topless, sitting on a stool and playing a guitar on the stage. All these Forrests looking over Jenny at his different occasions seemingly oscillates betwee n voyeurism and fetishistic fascination. Marxist Criticism and Cultural Studies Along with psychoanalytical, feminist and cultural criticism, Marxist criticism is an especial approach to expose a collection of hidden meanings in films rather than discussing representations of women or sexuality from a sociological perspective. According to Marxist theory, the film represents the Repressive State Apparatus as Forrest is going through his life: the assassination attempt on George Wallace, and the assassinations of John F. Kennedy and Robert Kennedy; the struggles over civil rights and the war in Vietnam. At this point, Lieutenant Dan (Gary Sinise) initially appears as a strong portrayal in the army with a long, great military tradition, but ends up losing his both legs in the war then being encouraged consistently by Forrests plain ideology, viewers thus see he eventually finds the real meaning of the life with his new mental legs, which convey a positive message towards the ideological issue that all the Americans wonder like Forrest Gump: whats my destiny? Regardless its nature of unspoken yet invisible, ideology generally defines the shared beliefs and values held by a culture, it therefore hugely influences upon the culture with its invisible power. To some extent, ideology forms the manners of people think and things look, which is so called hegemony. In the film, either Mrs. Gump positively disciplines Forrest that life is a box of chocolates or Jenny leaves him a negative advice that if youre ever in trouble, dont try to be brave Just run away, Forrest simply takes them at the unconscious level; nevertheless, running becomes his starting point to success and even leads a large group following behind him. Consequently, whatever the representation of women meaning to this male protagonist in the classical narrative cinema, or how he gains the fantasies of voyeurism and fetishism in light of psychoanalysis, it finally appears to viewers that Forrests story asserts possibility and hope even though difficulties, loneliness, and death, as he says that to put the past behind you and move on. Accordingly, behind the images on screen, Forrest Gump reflects positive values that Americans should hold; the main characters more or less, present these ideological state apparatuses in terms of Marxism criticism. The film not only entertains audience with erotic spectacle and pleasure, also offers its suggestion to audience with regard to the society and culture they are positioned. Marxism and feminism examine film studies individually; these discourses in fact have same desire to challenge the power structures in a patriarchal society. Meanwhile, both of them link to each other on the basis of psychoanalytic notions. Studying the main females of the film with feminism theory is certainly useful to explore the ways in which ideology has though been structured in the cultural context. Conclusion To sum up, Mrs. Gump and Jenny, the two females who relate to the protagonist Forrest Gump, have been mostly examined with the mechanism of feminist discourse in the article. By going through the feminism analysis with their representation and sexuality in the film text and ideological implication in terms of Marxism theory, we can conclude the film, as Comolli and Narboni (2000) state: on the one hand it is a particular product, on the other hand, as a result of being a material product of the system, it is also an ideological product of the system. References Comolli, J. and Narboni, P. (2000) Cinema/ideology/criticism[1971], in in Hollows, J., Hutchings, P. and Jancovich, M. (ed.) The Film Studies Reader. London: Arnold Presser. Cook, P and Johnston, C. (1990) The Place of Woman in the Cinema of Raoul Walsh[1974], in Patricia Erens (ed.) Issues in Feminist Film Criticism, Bloomington: Indiana University Press. Hollows, J., Hutchings P. and Jancovich, M. (2000), The Film Studies Reader.  London: Arnold Publisher. P 230. Johnston, C. (2000). Womens Cinema as counter-Cinema [1973], in E.A. Kaplan (ed.) Feminism and Film. Oxford: Oxford University Press, P22-23. McCabe, J. (2004). Feminist Film Studies: Writing the Woman into Cinema. London: Wallflower Press. P24. Mulvey, L. (1989). Fears, Fantasies and the Male Unconscious or You Dont Know What is Happening, Do You, Mr. Jones?' [1973], in Visual and Other Pleasures. Basingstoke: Macmillan. P8. Mulvey, L. (2000). Visual Pleasure and Narrative Cinema [1975], in Hollows, J., Hutchings, P. and Jancovich, M. (ed.) The Film Studies Reader. London: Arnold Presser. Dongjie Duan

Natural Religion Versus Revealed Religion Philosophy Essay

Natural Religion Versus Revealed Religion Philosophy Essay Dialogues Concerning Natural Religion is a religious philosophical work of the Scottish philosopher David Hume.  It is about the fight the three characters of Cleanthes, Philo and Demea about the nature of Gods existence. Hume began the process of dialogue later than in 1750, it was published only in 1779. Dialogues Concerning Natural Religion, religion, philosophical works of David Hume, were published posthumously 1779.  The work is written as a fictional dialogue between the three main characters Cleanthes, Philo and Demea. Cleanthes argues for the existence of God.  He stresses the teleological sense, for example, that the worlds effectiveness suggests an intelligent designer. Demea can rather be characterized as a mystic, who claims that God is beyond reason.  The main reason for that belief is an internal feeling or certainty.  However, Demea is trying, at one point, to defend a version of the cosmological proof of God. Philo is the most skeptical of the three, and probably the most often seems to reflect the Humes own point of view, as described in Humes Dialogues as Philosophy of Science. Conversations about religion in the Dialogue concerning Natural Religion, is the literature on philosophy by the Scottish philosopher David Hume.  The publication consults together with three characters- Demea, Philo and Cleanthes, the nature of religion and the existence of God.  They all agree that God exists, but disagree on the nature and properties, and that they can ever gain knowledge of the gods.  Among the things they talk about is the design rationale for the existence of God. Hume started writing the Dialogues on religion in 1750, but did not finish with them until 1776, shortly before he died.  The publication is based in part on the publication of Cicero De Natura Deorum (On the nature of the Gods).  Conversations about religion came to Hume, after he died in 1779. 3. Give a complete account of the Argument from Design as stated by Cleanthes. In part I, the skepticism is discussed, which is made strong by Philo.  Cleanthes, however, rejects the global skepticism because it was not for pragmatic reasons, could be represented.  In Part II to VIII, the argument was put forward by Cleanthes, as the argument from design was discussed. Cleanthes believes that the world has similarity with the products of human activity and could be seen as a great machine.  Since similar effects could also lead to similar effects, it is permissible to infer by analogy that God to the man is similar.  God is a kind of exaggerated human being is, however, better and probably also was distinguished by the usual attributes of immortality, omnipotence, omniscience and benevolence. Thus, represented by Cleanthes anthropomorphism is criticized by the other two severely and extensively.  Demea calls for the incomprehensibility of God, pointing to the weak nature of the human spirit, which is composed of variable and  Philo designs also a long list of alternative conclusions, and describes the world that could not be excluded by Cleanthes: his argument still leaves many gods instead of one, also could the world be regarded as good as an animal, which enables a completely different description of God.  He also puts forward a variant of the theory of nature, passes after a series of finite worlds to each other the momentum of change.  In this theory, he is already approaching the Hume to as yet unknown theory of evolution.  Cleanthes can be traced from Philo provoking presentations and throws out any of his theories of the world, which were produced exactly as it is of necessity.  This philosophy applies, however, against the design argument for which th is is true either.  At the end of Part VIII, he claimed that there was the reluctance of any appeal, the only tenable position, as stated in How David Humes Critique of the Design Argument Survives for Three Centuries. Two of the experts involved in the dialogues represent two major trends of the Century of Enlightenment in the discussion of natural religion: one, Cleanthes, is a deist, a theist or perhaps better, not only argues for the existence of God but also of  His providence, the other Demea, is a defender of orthodox Christianity.  The third, Philo is the fencing of the skeptical point of view.  The theist Cleanthes claims arrogantly that the power of human reason is sufficient to reach, drawing on the experience of the world and the logic of the arguments, the authors knowledge of the universe.  The orthodox Demea insists, that it is not the strength, but the weakness of a man, and his reason which brings us to the infinity of God and his mysteries.  The skeptic Philo sometimes slyly encourages optimism for the Cleanthes and other pessimism of Demea, thus provoking the confrontation between the two.  This strategy paves the way to defending their thesis of the triumph of mode rate skepticism concerning natural religion.

Deism- The Distant God Essay -- Literary Analysis, The Universe Next D

Deism- The Distant God It all depends on the glasses. Every lens gives a different view of the world, different colors, and different textures. Everything encountered can either be displayed perfectly or distorted. Sometimes things can seem foggy or blurry and other times crystal clear. Worldview can be compared to a pair of glasses. It defines how people see religion, culture, tradition, and life. It is the Father of beliefs, and starter of wars. It is our conscious and our decision maker. A worldview, whether admitted or not, effects and shapes each and every person. James W. Sire gives a precise definition in his book The Universe Next Door, saying, â€Å"A world view is a set of presuppositions (or assumptions) which we hold (consciously or subconsciously) about the basic makeup of our world† (pg.17). To qualify a worldview a livable belief, it must first answer seven basic questions. (1) What is the ultimate reality? (2) What is the nature of external Reality? (3) What is a human being? (4) What happens to a person at death? (5) Why is it possible to know anything at all? (6) How do we know what is right and wrong (morality)? (7) What is the meaning of human history? (8) What are the core commitments that are consistent with this worldview? All major worldviews attempt to provide an answer to these questions of human existence and the reason we are here. Christians need to understand how to apply the questions to not only our own worldview, but also the worldview of others. Only when one begins to understand the basis of another worldview can Christians begin to minister with understanding to the people of that belief. So now let us put on our lenses and explore a worldview that has existed through the pages of history. Let ... ...istianity have core commitments in living out their faith. Because deism does not have set beliefs, commitments vary from deist to deist. Every person is free to use their human reason to draw their own conclusions of life. These goals and commitments will reflect the personal aspects of each person. Warm deists goals may reflect a belief in a creator or God, and what would most make him pleased with him. Cold deists, however, will use only reason to reach their goals. Christianity has one core motive. According the Westminster Shorter Catechism we are to â€Å"glorify God and enjoy him forever.† The Christian’s life does not reflect their goals; rather it reflects God and his holy character. Now that we have been given a new perspective in the worldview of Deism, we can now accurately begin to reach out and witness to this worldview that believes in a faraway God.

The Alliance Between China and the Soviet Union Essay -- History, Sin

The alliance between the People’s Republic of China (PRC) and the Soviet Union was formed as a result of mutual interests and the desire of both states to pursue their respective national and geopolitical imperatives. Although Chinese historical experience and Marxist ideology played a role in constructing these interests, the actions of the Chinese Community Party (CCP) reflect an overarching proclivity toward solidifying their power and securing the nascent republic. This essay will examine the multifarious factors that influenced the Soviet alliance, including relations between the PRC, United States (US) and Soviet Union in addition to PRC foreign policy and its strategic objectives. Historical conceptions of China’s culture and global position shaped the PRC’s perspective. Central to this is Sino-centrism and its edict from heaven for dynastic China to spread civilisation (Xinning 2001: 70). Imperial China’s tribute system represented a â€Å"Pax Sinica† and the physical manifestation of Sino-centrism, with its success affirming Chinese cultural superiority (Y. Zhang 2001: 52). Instructive in this is Sino-centrism’s similarity to, and conflict with American Manifest Destiny, itself an articulation that Anglo-Saxon American’s are God’s chosen people, with a superior culture and who are pre-ordained to spread civilisation to inferior peoples (Hollander 2009: 169). The PRC’s nationalism can be seen in part as a rejection of this competing celestial mandate, linking China’s decline to foreign intervention and the acceding to unequal treaties that saw the loss of peripheral territories considered intrinsi c to historic China (Kissinger 2011: 112). In this way, the PRC’s formation as a modern nation state is the recrudescence of Sino-... ... bloc (Goldstein 1995: 50). Hence, in allying with the Soviets the PRC were able to ameliorate the core issues that posed an existential threat to their republic. It is difficult to conclude anything other than that the alliance between the PRC and the Soviet Union was chiefly born out of necessity. Certainly, the common ideology and revolutionary nature of the CCP allowed for a collective understanding that sometimes amalgamated into shared objectives. Even so, PRC actions suggest an appeasement rather than a genuine alignment with the Soviet Union. Accordingly, Beijing and Moscow appear reluctant allies, with a hint of the Prisoner’s Dilemma to their alliance – each, though particularly the PRC, facing deleterious consequences by pursuing an independent path.In cooperating, the PRC were able to build their state and counterbalancing the perceived US threat.

Beauty and Other Deep Superficial Desires

In our affluent society, we can be said to have everything: our work is not backbreaking. In fact, working conditions are good, and many of us strive to do good work. Technology has advanced so far that we are living longer and better lives. We have come to address many social ills, such as poverty and social forms of oppression, like racism. But more than ever, we Americans seem more and more unhappy and unsatisfied.What accounts for the disparity between the relative comfort and affluence of our lives, and the inversely proportional pleasure we take in living our lives?In his essay â€Å"The Progress of Paradox,† Greg Easterbrook argues that a general discontent and alienation in our culture today come to us because our lives are filled with choices (a glut of choices) but have little meaning. Easterbrook seems to adopt a view of human beings as naturally pessimistic (if left to their own devices), and urges Americans to be more optimistic and to return to seeking more trans cendent experiences that are currently offered by the cornucopia of sex and violence that passes for American culture.Easterbrook is a self-avowed Christian, so talk of pursuing transcendence is code for religious faith, but may be forgiven this given the work that he puts into making his arguments through evidence. Just because, as he puts it, millions of Americans can afford to spend a lot of money on vanity induced plastic surgery, such as â€Å"the navel touch-up† (Easterbrook, 402) does not mean that this is how our resources should or could best be spent.We should instead turn out considerable resources and wealth to trying to make a difference in the world of the less advantaged peoples of the world; this might be worth while and more fulfilling than the choices we seem to be making instead. Where Easterbrook interprets the rise of elective plastic surgery as a superficial and meaningless activity, a sign of our devolution into decadence, Naomi Wolf, on the other hand, sees the beauty industry’s practices as full of meaning.For a woman who considers getting plastic surgery, the question is not a superficial or vacuous one. She writes: â€Å"The beauty myth is always actually prescribing behavior and not appearance† (Wolf, 489). Beauty is never skin deep; that is, one reason why a woman might want to be beautiful is because her exterior appearance is taken to be a sign of her worth and of her interior personhood. A beautiful woman is thought to be a good woman, one who is disciplined and whose life is in proportion.This is evidenced in work that is done with women (and increasingly more and more men) who suffer from eating disorders. These individuals report that, for then, their eating disorders are about control, about showing the world that they have great discipline and are inherently good, disciplined, and virtuous in the particularly American protestant work ethic (See Bordo below, whom I read for another class).Where Easterbro ok fails to see underneath the surface of the plastic surgery craze, Naomi wolf shows us that it is behaviors that are the aim, not simply appearance. The gendered analysis is important because we can begin to question why it is women’s preoccupation with image that is taken as the chief example of frivolous vacuity, when surely men’s investment is the pornography industry can be read as a much more morally objectionable practice.In any case, all of these practices can be taken together and read as signs, as symbols by which culture communicates a code of acceptability to its members. According to popular semiotics professor and cultural critic Jack Solomon: â€Å"America is a nation of fantasizers, often preferring the sign to the substance and easily enthralled by a veritable Fantasy Island of commercial illusions† (Solomon, 413). What Solomon describes is an America closer to that imagined by Easterbrook, but minus the normativity.That is, Solomon sees meanin g in every little sign or symbol in culture. Either all is surface play of meaning without depth, or all these signs point to a depth beyond the immediately apparent. According to this viewpoint, the problem of our culture is not that we have lost touch with some transcendent being (read: God), but that we prefer not to be on communion with anything grander than a pair of Ferragamo shoes or a Ferrari car. We love our status symbols and our wealth, and the dazzling display satisfies us, if only for a short while.We are a nation of dreamers and we will believe in this dream of prosperity for as long as we possibly can. Bibliography Bordo, Susan. (2004) â€Å"Reading the slender body. † Unbearable Weight. Berkeley and Los Angeles: University of California Press. Easterbrook, Greg. (2003) The Progress Paradox. New York: Random House. Solomon, Jack. (1990) The Sign Of Our Times. New York: HarperCollins. Wolf, Naomi. (2002) The Beauty Myth. New York: Harper Perennial.