At the end of section 2 of the Communist Manifesto, Marx (and Engels) list 10 measure as demands of the Communist Party.
Discuss which ones have been implemented to some degree. Why has this happened?
What is (or would be) the position of at least one other theorist post-Marx on these demands, and why these demands seem to have been met.
s evil, as seen through dialogue between himself and Isabelle: ‘Your father backs me, and, if you persist, | I’ll have recourse to his authority.’ (Corneille, p. 218). Therefore, one could argue, his death is not a problem for the genre. Conversely, the final act as a tragedy is imperfect also, as there is no death or tragic consequence of the protagonist’s actions – be that Clindor or Pridament. This contrasts the Aristotelian theories of tragedy adhered to in 17th century French Classical theatre, in which the characters typically reach an anagnorisis, but it is too late to avoid the tragic consequence of their actions (Desnain, 2018). However, Corneille’s manipulation of the definition of what makes a tragedy and a comedy suggests that the play was an exploration of drama. Therefore, the play does not merely prove the worth of theatre, but also challenges the theatrical tradition. Similarly, Corneille both technically adheres to the unity of time as the outer play – the interaction between Alcandre and Pridament – yet does not through the fact that the character Alcandre shows only fragments of the character Clindor’s narrative over a period of months or years. This alongside the open-ended nature of the text as highlighted by Nelson is used to create a particularly ‘Cornelian effects of surprise and curiosity’ (Nelson, p. 1139). This indicates the playwright’s desire to create a play which does not necessarily adhere to dramatic traditions in order to create the effect he desires. However, the idea of innovation could be for the purpose of defending theatre, but showing its capacity and innovative nature. Yet, the ambiguities in his creation although perhaps acting as a defence of theatre, arguably also covet differing purposes such as reflecting the ambiguities within the social context of the text or Corneille’s own retaliation from the traditions of his art. As a result, this again supports the idea that the play is not merely a defence of theatre. Contrastingly, Siepe focusing on the wider body of Corneille’s work, suggests his work was always ‘rooted in the socio-political context of early absolutism’ (Siepe, 2011). This is applicable to ‘The Theatrical Illusion’ as although the plot does not directly address political or social problems in17th Century France; themes, such as status and deceit which concerned the rule of Louis XIII, are central. With regards to hierarchy and status, the characters presented on stage are middle class, which was unusual in 17th Century theatre, as typically – reflecting the Greek tradition – the aristocracy or war heroes were the main characters in tragedies and the poorer classes for comedies (Desnain, 2018). This both mirrors the growing mercantile classes from the 17th century and the audience’s growing interest in a class group as a result. Therefore, the Corneille’s purpose was to create a piece which mirrored elements from society rather than remained stuck in the limits of or just defended the theatrical tradition. Alternatively, Cor>GET ANSWER