3) How does Fight Club mediate the contradictory capitalist mode of production?
4) According to McGowan, what is the basis of our universality? Why is it NOT identity politics? Illustrate with examples from the modern era.
5) What is “neoliberalism?” How is it depicted (and critiqued) in Nightcrawler?
6) According to Hume, why is belief in miracles never justified?
7) According to Hume, why is the argument from design (Cleanthes’ argument for an intelligent creator) not convincing?
8) If Camus’ The Plague is an allegory, what does it allegorize and what is the point the novel seems to be trying to make? Support your answer with at least two examples from the novel.
9) According to Kierkegaard, what is the lesson we should learn from Abrahams’ experience with the sacrifice of Isaac?
10) Explain Nietzsche’s concept of the “death of God.” How does it relate to the label “perspectivism” that is sometime applied to his work?
11) Explain the following terms from Heidegger and how they related to each other: Dasein, equipment, throwness, futurity, worldhood.
12) Explain Sartre’s concepts of “bad faith” and “authenticity.”
13) In what sense is Fellini’s 8 1/2 an existential film (in other words, how does it deal with problems like the “many and the one” and Heidegger’s “being toward death”)?
14) Why is Roxy Music’s song “More Than This” the perfect encapsulation of the central theme of Lost in Translation? Use at least two examples from the film to make your point.
(200-250 words for each question)
Books:
Camus, Albert. The Plague. Vintage International.
Communist Manifesto and Other Revolutionary Writings. Dover Thrift Editions.
Existentialism: Basic Writing. 2nd Edition.
Hume, David. Dialogues Concerning Natural Religion. 2nd Edition. Hackett.
McGowan, Todd. Universality and Identity Politics. Columbia University Press.
Rousseau, Jean-Jacques. On the Social Contract. 2nd Edition. Hackett.
Movies:
Fight Club (Dir. David Fincher)
Nightcrawler (Dir. Dan Gilroy)
8 1/2 (Dir. Frederico Fellini)
Lost in Translation (Dir. Sofia Coppola)
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