According to them, "[Women] became targets of interpolation into 'mothers who should ensure the biological survival and progress of the nation' and the 'guardians of home and privacy.' Thus, instead of the former (mostly economically enforced) '
proletarianism' and (politically enforced) 'emancipation,' an ideological model of domestication of women was introduced" (Hassenstab, Ramet, & Hassenstab, 2015, 49).
The last three movies in the MCU have all boasted well-drawn antagonists with complex and believable motives, from the neo-Malthusian philosophy of Thanos, to the misguided
proletarianism of Michael Keaton's Vulture in Spider-Man: Homecoming , to the twisted Afrocentrism of Michael B Jordan's Killmonger in Black Panther .
As Chesterton put it in The Outline of Sanity: "The truth is that what we call Capitalism ought to be called
Proletarianism. The point of it is not that some people have capital, but that most people only have wages because they do not have capital"
The PRRWO's leadership, which included former core Lords, derided the Lords' prior nationalist analysis in favor of revolutionary
proletarianism, arguing that only a working-class revolution in the U.S.
Alan Wald claims Whitman "embodies not only facets of classic romantic ideology but also a robust
proletarianism, and perhaps even a proto-modernism indicated by his free verse catalogues and use of common speech" (Exiles from a Future Time: The Forging of the Mid-Twentieth Century Literary Left [Chapel Hill: University of North Carolina Press, 2002], 36).
In Labor and Desire, Paula Rabinowitz explains that "
proletarianism was the antidote for the intellectual as woman, because if the literary radical wrote like a worker, for a worker, and about a worker, he could in effect shift both class and gender inscriptions and become a (cultural) worker in the camps, mines, mills, and fields of America" (45).
In a similar vein, Sian Adiseshiah (University of Lincoln) addressed the strategies of performing
proletarianism in the current resurgence of political drama in 21st-century Britain, by interrogating three recent plays (Jez Butterworth's Jerusalem, 2009, Gillian Slovo's The Riots, 2011, and the 2013 National Theatre revival of Simon Stephens' The Port, 2002) as to their depiction of working-class identities as deviant or subhuman in the light of Owen Jones's recent best-selling book Chavs: The Demonization of the Working Class (2011).
The writers, photographers, and artists she examines were representatives of the cutting edge of their fields during the 1930s and 1940s, and had earlier expressed radical tastes either in aesthetics, such as surrealism, or in politics, such as
proletarianism, along with their avant-garde forms of representation.
Yet these policies can liberate men from
proletarianism if and only if they are accompanied by an enrichment of the inner life of the average citizen (Leisure, IV).
"Diaspora Cruises: Queer Black
Proletarianism in Claude McKay's A Long Way from Home." Modern Fiction Studies 49.4 (2003): 714-45.