The Scars of Capitalism in Virginia Woolf’s Mrs. Dalloway and ‘Kew Gardens’

This paper discusses the scars of capitalism in Virginia Woolf’s Mrs. Dalloway and ‘Kew Gardens’. Following one day of the character’s life, the discussion will investigate how the novel and the short story introduce the capitalist ideology that dictates the character’s everyday life and how the characters, in different ways and to certain extents, react to it. In Mrs. Dalloway, Woolf depicts capitalism as an oppressive system that can be very rewarding to those who submit to its ideals and, at the same time, very catastrophic to those who try to confront it or question its validity. In ‘Kew Gardens’, the characters, affected by the looming war, try to come to terms with the meaningless materiality, the hollowness, and insecurity that capitalism produces; In both texts, capitalism is introduced as a tyrannous system that uses everything in the characters’ everyday life as suppressive tools to enforce its values and maintain its continuity.

A Place for Shadows: A Prolegomena to the Authorship Practices and Films of Joanna Margaret Paul

<p>This is an "authorship" study of New Zealand artist Joanna Margaret Paul, with specific reference to her "experimental film" works. Though I will draw on a wide range of theorists, my overall approach is what Laura Marks calls "intercultural cinema." For Marks the term "intercultural cinema" refers to a specific "genre" or "movement" of experimental films created by authors caught "between two or more cultural regimes of knowledge." Intercultural film-makers include feminist, queer, indigenous and immigrant authors (any "minority" which possesses its own "regime of knowledge" and makes experimental film) living in "Western metropolitan areas," whose dominant culture is capitalist, masculine, "hegemonic, white and Euro-American" (a second regime of knowledge). What draws intercultural cinema together (and indeed, one could argue, experimental film in general) is an oppositional stance toward capitalist ideology, the commodification of the art object and the uniformity of classical narrative forms. As David Bordwell and Kristen Thompson write, experimental films are "often deliberate attempts to undercut the conventions of commercial narrative filmmaking" and, as Marks writes, intercultural cinema "flows against waves of economic neocolonialism," and is "suspicious of mass circulation... [as] making commercial cinema still involves significant compromises."</p>

A Place for Shadows: A Prolegomena to the Authorship Practices and Films of Joanna Margaret Paul

<p>This is an "authorship" study of New Zealand artist Joanna Margaret Paul, with specific reference to her "experimental film" works. Though I will draw on a wide range of theorists, my overall approach is what Laura Marks calls "intercultural cinema." For Marks the term "intercultural cinema" refers to a specific "genre" or "movement" of experimental films created by authors caught "between two or more cultural regimes of knowledge." Intercultural film-makers include feminist, queer, indigenous and immigrant authors (any "minority" which possesses its own "regime of knowledge" and makes experimental film) living in "Western metropolitan areas," whose dominant culture is capitalist, masculine, "hegemonic, white and Euro-American" (a second regime of knowledge). What draws intercultural cinema together (and indeed, one could argue, experimental film in general) is an oppositional stance toward capitalist ideology, the commodification of the art object and the uniformity of classical narrative forms. As David Bordwell and Kristen Thompson write, experimental films are "often deliberate attempts to undercut the conventions of commercial narrative filmmaking" and, as Marks writes, intercultural cinema "flows against waves of economic neocolonialism," and is "suspicious of mass circulation... [as] making commercial cinema still involves significant compromises."</p>

Critique of Capitalist Ideology in Bhattarai’s Muglan

This article explores Govinda Raj Bhattarai’s worries about the innocent youths to be the Muglanis forced by the dominant capitalistideology of the society in his novel Muglan. In the novel, he presents the critical situation of the youths who are compelled to leave their motherland just for survival but they get sold like cattle and are enslaved and forced to do hard physical labour in the cruel foreign land. The article applies neo-Marxist insights to study devastating results of elitist bourgeois ideology of the society over the life of poor innocent people in the novel. It mainly borrows ideas from Luis Althusser’s “Ideology and Ideological State Apparatuses” along with the ideas by Terry Eagleton and Antonio Gramsci. The article shows Bhattarai’s critique of elitist bourgeois ideology of the society that he does through his choice of the protagonist, Sutar, who along with other youths leaves his home and goes to muglan but gets robbed, sold and forced to work as road builder in the foreign land of Bhutan. By showing the hopelessness of better life for the youths in their native land, Nepal and their pathetic condition in the foreign land, Bhattarai critiques the elitist ideology of Nepalese society.

“All business as usual”: Richard Powers’ Gain and the Complicities of (Re-)Incorporation

Renowned for his thoroughly researched ‘discursive narratives’ that trace in near-encyclopedic mode the complex interconnectivity of life in our (post-)postmodern period, Richard Powers’ Gain ambivalently raises the stakes of politics in the novel of late capitalism by asserting the imaginative agency of fiction itself. But how does one employ fiction to redress the simulacral hollowing out of everyday life in a corporate culture that fabricates reality by molding consumer desire to its own ends, specifically the end of financial profit? Can the ethical acknowledgement of complicity do away with its inevitability and even willingness within the unmappable totality which is our late capitalist moment? Gain confronts this problematic in ways that both resist and embrace it. The novel’s seemingly intentional ambivalence that mimics, yet strives to invert, the unashamed cynicism of late capitalist ideology finds a point of obdurate insistence in the ‘corpo-reality’ of the human body itself. At the same time, it imagines a vehicle of transcendence in the re-incorporation of that body or, more specifically, that body’s agential possibilities in a sphere beyond mere economic interest. Yet the asymmetry patent between the body’s death and the deathless corporation, despite the narrative parallelisms that the novel damningly establishes, returns us to the ambivalence of fictional ambivalence itself and the ethical dilemma of imagining ourselves beyond the currently unimaginable real.1

Is archaeology conceivable within the degrowth movement?

Since the 1980s, archaeology has been further embedded in a reinforced and accelerating capitalist ideology, namely neo-liberalism. Most archaeologists had no alternative but to adapt to it through concessions to the free-market economy and to the so-called mitigations taking place within development. However, it is now apparent that the ongoing global socio-ecological disaster we are facing cannot be reversed with compromises but rather with a radical engagement against the injunctions of competition and growth. I suggest that we must anticipate the necessary transformations of archaeology in the coming decades, before archaeology becomes a technical avatar of the neo-liberal dogma, or before its complete annihilation for being deemed ‘superfluous’ (Wurst 2019, 171) by the capitalist regime. In this paper, I will use the idea of ‘degrowth’ to propose a new paradigm for archaeology by applying the concepts of civil disobedience, voluntary simplicity, redistribution of means and the ethics of no-growth.

University Education and the Value Projection of the Concept of Corporate Social Responsibility

The authors consider the concept of corporate social responsibility (CSR) as a component of the global capitalist ideology. The value disposition of universities in relation to the concept of CSR is analyzed relying on the fundamental motivational matrix (FMM). The fundamental types of motivation are defined according to the anthropological distinction between personality and human nature and the social distinction between reward and punishment. In accordance with the logic of the applicability of different types of motivation, the fundamental contradiction between the value basis of the capitalist economy and the main scientific and educational activities of universities is determined. The attitude of voluntary responsibility characteristic of CSR is defined as internally contradictory, but unavoidable within the system of declared values of the capitalist economy. It is shown that the peripheral position of labor in this system of values is not accidental, that labor and investment success are opposed, and that it is irrevocable.

Panic Buying: Konsumerisme Masyarakat Indonesia di Tengah Pandemi Covid-19 Perspektif Psikoanalisis Jacques Lacan

The development of technology in the contemporary era raises various problems of humanitarian crises. The humanitarian crisis was caused by rapid development of capitalist ideology, technology and science. Mass purchases in a short period of time in the midst of the Covid-19 pandemic made subjects consume unnecessary items. The subject has a split in understanding reality. Lacan's psychoanalysis is important in understanding the lifestyle of the consumerist society amid the Covid-19 pandemic. The Lacan trilogy is able to analyze of humans as subjects. The purpose of this study was to determine the background of panic buying behavior in the midst of the Covid-19 pandemic in Indonesia. This research method is a literature study, aimed at analyzing panic buying behavior as a form of consumerism, with the theoretical framework of Jaques Lacan's psychoanalysis. The result of this research is that the currently present subject is a subject in interaction with pure reality which is translated into a symbolic code. A subject who seeks happiness with the desire to be someone else and to calm his panic in an unstable state. The subject considers consumption to be the answer to anxiety symptoms in the midst of the Covid-19 pandemic.

The ghost of capitalism: A guide to seeing, naming and exorcising the spectre haunting the business school

The aim of this article is both a pronouncement of doom and an offer of hope for the Western business school. Both come from the recognition that business schools are haunted and that the haunting spectre is none other than the capitalist ideology. We ground our thinking in the established rich ‘ghostly’ academic literature where the metaphor of the ghost is used to reveal the powerful agency of the unspoken-of and the unseen. Using three fictional ghostly tales as interpretive lenses, we make three arguments. First, we argue that capitalism is a ghost in the walls of the business school. Second, we suggest that capitalism’s ghostly nature prevents the business school from offering a curriculum that serves more than the growth of financial capital. Third, we propose that naming of capitalism is integral to the exorcism of its ghost and the creation of curriculum that engages with the social and environmental challenges of our times.