The feminist art has been re-discovered through the bodily subject leading to psychological subject in femininity because feminists employs psychoanalysis as a tool to critique based on patriarchal ideology that is riddled in psychoanalysis. It is, therefore, wrong for Freud to view feminist as passivity making women seem incapable of attaining subjecthood. Being a modern Marxist literary critique is not embedded in being political revolutionary. It also unrestrictive to only being associated with radical social or dislike of works representing and/or reinforcing a middle class and capitalist world-view. The Marxist criticism requires one to be endowed with a fundamental definition of the purpose as well as the functions of literary criticisms. Marxist criticism is thus focused on breathing hidden meaning of particular situational information. Marxist critiques pay no attention to the derivation of meanings of the texts as do non-Marxists unless they perceive the texts as material that requires broader historical context understanding. Marxist critiques rate the literary texts as products of work and, therefore, realm of consumption and production referred as economics. Marxist analyses also view the literary work as that which does identifiable own work. Analysis of Articles New Encounter with Les Demoiselles dAvignon: Gender, Race and Origins of Cubism. College Art Association and Meaning in the Visual Arts: Papers in and on Art History.
Anna C. Chave, (1994). New Encounter with Les Demoiselles d’Avignon: Gender, Race and Origins of Cubism. College Art Association. The Art Bulletin Vol.76, No. 4. Pp.596-11. http://www.jstor.org/stable/3046058
Edwin, Panofsky, (1955). Meaning in the Visual Arts: Papers in and on Art History. Doubleday Anchor Books. Doubleday & Company, Inc. Garden City, New York. Press.
Johana M. Smith, (1992). Case Studies in Contemporary Criticism: Marxist Criticism. Boston. New York. Martin Press.
Leonard Folgarait, (1991). Revolution as Ritual: Diego Rivera’s National Palace Mural. Oxford University Press. Oxford Art Journal Vol. 14, No. 1 pp. 18-33. http://www.jstor.org/stable/1360275
Norman Broude and Mary D. Garrad, (1992). The Expanding Discourse: Feminism and Art History. IconEditions. An Imprint of HarperCollins Publishers. New York.
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