FINAL: Part B

Hello, all. I hope your weekend has gone well, and that everybody has managed to produce at least a draft of their response to their chosen question from Part A of their take-home final. Here are the three questions from which you will choose your second response, for Part B. Remember, you are going to be handing in your final exams at the beginning of class one week from Tuesday.

Question One:

Charity Scribner proposes that in Joseph Beuys' Economic Values a collection of objects memorializes a State while Rey Chow proposes that in Lao She's story "Attachment" a collection of objects threatens a State. A work of Stately memory, it would seem, confronts a work of non-Stately priorities; and an uneasy past confronts an uncertain future. But how different, finally, do you think these projects of collection really are, how different do you think the works of collection they are documenting really are, how different do you think their politics really are? Does it matter that in each of these essays the State under scrutiny is at once an example, however flawed, of "actually-existing socialism" as well as a failed or tyrannical state? Substantiate your claim with close reading of the essays themselves.

Question Two:

The paradox of Luis Bunuel's film The Milky Way is that it denounces religious, philosophical, political, and artistic zealotry, but at the same time it embraces religious mystery, philosophical passion, political idealism, and artistic imagination. Does the film provide a clear path or even clues that might help us along the way toward reconciling this paradox? Is it possible in the terms of the film to embrace mystery without feeding tyranny? Provide your answer through close readings of scenes in the film itself or through an examination of what you take to be the film's larger narrative, formal, logical, or tropological structure.

Question Three:

In Mythologies, Barthes claimed "to live to the full the contradiction of my time, which may well make sarcasm the condition of truth." How does his sarcastic truth differ from the fidelity of "blasphemy" Donna Haraway claims to express in her "Manifesto for Cyborgs'? When Haraway announces in her opening sentence that the project of her Manifesto is "to build an ironic political myth faithful to feminism, socialism, and materialism," it would seem that she is using myth in a different way than Barthes does. Or is she? Choose at least two moments in Haraway's Manifesto that seem to you to illustrate how her ironic cyborg mythologizing either is essentially continuous with or significantly different from the demythologizing drive of Barthes's project.