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Given the incredible levels of retrograde failure intersectional dogma demonstrates and laughingly promotes as progressive, it's not hard to imagine America slipping into a bizarre dark age were this to be institutionalized into length and breadth of American culture. Core SFF in intellectual terms already resembles a cave without electricity or Magna Cartas. The bovine attitudes shown in Mac Donald's article by an institution of higher-learning represent nothing less than the destruction of the U. S. Constitution in favor of one where rule of law is replaced by the rule of race and gender propagated by an inquisition that uses fear, lies and shaming as a court. The mechanism is always the same: one concocts fake racism in order to clear the field for attacks against straight white men. It is a paradigm that is the KKK's dream come true, but which it has no access to. That's why the new intersectional KKK doesn't seem like one, but it is. The "intergroup dialogue" which Mac Donald mentions in her article is nothing but an Orwellian title for KKK. The bottom line is that the groups most trying to make a case for their equality are in fact making an excellent case they have yet to fully come to grips with the age of enlightenment or even the Library at Alexandria. On the flimsy excuse they are mainstreaming compassion and justice, intersectional political correctness is by far the single largest source of continual, formal and institutional hate speech in America today. Mac Donald's article is as extraordinary as any you'll ever read on the subject and that madness has hollowed out core SF literature to nothing more than a treadmill of hate speech. is something only black people can and do say. Using the theory of power privilege, for a white person to say such a thing is solid KKK territory. In fact a race supremacist is a race supremacist. As Mac Donald points out about that linked video, people who assert "the most important thing about an individual is his racial and ethnic identity" portraying being asked about their racial identity as a microaggression is another in the circular black hole of a stacked deck which always deals aces to anyone not a straight white male no matter what. The eternal goal is not addressing racism but showing what jerks 230 million white Americans are, especially men.
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Intersectionalist SF today is the type of literature white supremacists might write if they became interested in SF for some reason. The irony there is SF's modern feminists not only already believe all of Golden Age SF was white supremacist, but the reason the PC's own feminist doused SF exists is as a reaction to that. Old school SF wasn't supremacist or colonialist or racist or any of that nonsense. Within or without that old literature there is no sign of a cohesive shared ideology with the shared racial and sexual demonization theories and academic vocabulary the PC themselves use like a production line. The intersectional Third Wave feminism which is the heart of core SF can't make that distinction (or any simple comparisons really) because they are literalists - identity addicts. They are unable to think in terms of a philosophical or intellectual shared human space but instead can only think in terms of race and sex. That's the reason they invoke the completely meaningless idiocy called "Godwin's Law" whenever anyone probes too deeply into the supremacist and racist literature the PC are selling. In other words there will never be anyone LIKE a Nazi - only an actual Nazi.
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A lot of good work was published in the '70s and '80s and the evolution of SF as a literature continued, but at a much slower pace, as uncaring mainstream readers increasingly began to want to see a reflection of the more accessible work they saw on television and film, and subsequently even in Japanese cartoons. Ironically, Japanese anime are today producing some of the best SF films out there, which isn't the compliment it sounds. Again, as in the case of Star Wars, the nuance of those animated Japanese films is conveyed at the edges, not in the plots, which are fun but vapid. The exact same thing is true of the animated film, the sublime Wall-E. This is in direct opposition to the best literary SF where nuance and layering suffuses the stories themselves, the edges matching, filling out and complimenting the central story. No one is going to say the plots of "Fondly Fahrenheit" by Alfred Bester, To Live Forever by Jack Vance or "The Soft Weapon" by Larry Niven are stereotypical or vapid.