Option A
Focusing on Wolf’s novel and/or Brecht’s theoretical essays and plays and citing at least 2 other authors we have read, formulate a thesis and develop an argument relevant to the theme of socialism and art.
Here are some questions to consider as you narrow down your argument – simply answering these questions will not automatically produce a compelling thesis about the ideas you are discussing, but it will give you a better sense of what kind of questions your thesis should be able to answer and what your own ideas about them are: Why and using what means do Brecht and/or Wolf engage with the concept of contradiction? How do they see it as already existing in society and in history? How do approaches like Brecht’s epic theater try to create contradictions and inversions, how do they try to resolve them, and why?
What is the meaning of contradiction in the German tradition of Marxist thought – is it primarily important in the sense of conflict, ambivalence, inversion? Does contradiction offer the possibility that things could be otherwise, or does it ensure that any attempt to resolve the conflict for good will, in turn, be riddled with contradiction as well?
Where do we see contradiction in these works? Is it just in the traditional Marxist context of class struggle? Is it located within characters, as well as between them? Can it be found between parts of the narratives – for example, between the acts of Brecht’s plays, or between the past and present of Wolf’s fragmented timeline? What are the terms of the contradiction in these works – how and with what intention are oppositions, antagonisms, or inversions set up and developed?
Do we find contradiction between the form and the content, in other words, the message and the medium? Is it in the contrast between time periods? Is it between feeling and thinking, between interiority and external reality, between morality and reason? Are binary antagonisms shown to be absolute, or do oppositions on some level break down and become ambiguous? For that matter, is there any tension between Marxist theory (including Brecht’s attempt to adapt it into aesthetic theory) and the task of the artist? Where does Wolf’s approach seem to differ from Brecht’s, and what is the significance of that comparison?
Option B
Same requirements as Option A except you can formulate a more general argument (i.e., not directly related to the theme of socialism and art) in response to Adorno’s essay and book as well as at least 2 other authors we have read.
Examples of questions you might ask to arrive at your most specific and original thesis for a paper about Adorno and other Marxists include: How do the authors deal with the tensions that they observe between theory and practice, between production and consumption, between means and ends, or between economics and the rest of what we think of as society? Do they treat the binary opposition between the individual and the collective, or capitalism and socialism or communism, as absolute? What gray areas do they find in those distinctions? How do they view revolution and the obstacles to bringing about political progress in a capitalist or socialist society? How do these authors represent organized socialist parties, whether in or out of power? How do they represent the working class, and the effects of capitalism on individual consciousness and social life?