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The Proletarianist Manifesto: 3rd English Edition

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The Proletarianist Manifesto

Constrain to simple back and forward steps. Copy code to clipboard. Send email. Send to group. Rather than focus on a specific movement or manifesto, I wish to study here the various attempts to define the genre by looking into the scholarly discourse on manifesto. My purpose is twofold.

First, I want to show how manifesto has been forged into a literary genre by critics and scholars. Sec- ond, I want to trace the emergence of research on manifesto in academic discourse and to show how it influences the literary academic field. For this purpose, I will review during the analysis some of the work done on mani- festo for the past three decades.

In the realm of literature, Djelal Kadir and Ursula K. Heise, editors of the volume on the twentieth century F of The Longman Anthology of World Literature , devote the first chapter pp. According to Daniel Chouinard and Caws , what are today regarded as the manifestos of Romanticism and symbolism constitute another example of texts which were never labeled as such at the time.

Chapter 2 - The Communist Manifesto

This characteristic may account for the numerous typologies that can be found in the work on manifesto, grouping families of polemical discourse. It also seems to be responsible for the confusion between political declarations and their literary counter- parts, which runs through the work on manifestos: Abastado claims that the forms of manifestos he suggests are historically determined: Abastado also emphasizes the fuzzy borderlines among various types of texts: The historical circumstances of the text and its reception under- standing, reading, judgment entail a shift in markers.

Actually, in the Ger- man arena scholars have even combined two perspectives in the study of manifesto: Though part of a larger family of polemical genres, such as declarations, political decrees issued by rulers, pamphlets, and so forth, the manifesto can be distin- guished by its affinity to the historical avant-garde.

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Fol- lowing Abastado, Berg accordingly studies manifesto texts that do not bear the name in their titles or never mention it in the body of the texts and sometimes even appear under a different name. This greatly enlarges the category. His classification includes, apart from the declaration, the On the other hand, Berg shows the difficulty of distinguishing the mani- festo from related discourses. He maintains that anthologies of the avant- garde that claim to be devoted to the manifesto seem to bring in other genres as well ibid.

The manifesto, then, relates to a variety of families: But it seems to be most closely akin to programmatic texts in times of crisis or change. These characteristics are taken up by other scholars who see the mani- festo as belonging to the family of polemical discourse and emphasize its violent nature.


As Jeanne Demers Earlier, the manifesto was mentioned in a special issue on pamphletary discourse. There Marc Angenot There the manifesto is considered as a variant of polemical dis- course, since it asserts and defends a thesis and invites the reader to take a stance. It is also short, as required by the wider discourse type, and shares the same characteristics of calling the reader to active participation: This type of dis- course bears a performative aspect, which represents both a risk and an obligation for those who sign it. All this makes the manifesto a functional discourse close to the pamphlet, the polemic, and the satire.

Dumasy and Massol What these types of discourse have in common is the feature that they are all textual strategies expressing social and political changes and mutations. All three seem to be forms of post—French Revolution modernity.

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  5. Manifestos are therefore akin to programmatic and prescriptive dis- course. To some scholars, literary manifesto communicates the principles or doctrine of an aesthetic or literary movement to a more or less wide public Schultz Lastly, the manifesto may be viewed as a programmatic discourse of power because it aspires to change reality with words; the manifesto is a discourse where knowledge is asserted rather than developed because used by the person who utters it as a revolutionary tool representing his or her dis- Demers attempts to distinguish manifesto from ars poetica.

    But the manifesto still needs the system and relies upon it and is therefore quickly recuperated by it. The evolutionary con- ception of knowledge that characterizes the prefaces gives place to a. From Form to Function As I mentioned earlier, to be a manifesto a text need not be dubbed as such as long as it looks and behaves like one. Yet its roots run much deeper, coinciding with the development of capitalism, industrialization, and the making of class society itself. In the 19th century, for example, both the slave narrative and nonfiction writing by factory workers can be counted as expressions of working-class life and subjectivity.

    Indeed, because the genre has historically been tied to the development of communist and socialist movements worldwide, proletarian literature is necessarily a global phenomenon, and an insightful indicator of the relationships between workers in different nations and colonies yoked together by global capitalism. Thus, proletarian literature should be studied as corollary to the development of capitalism across time and space; as an index to the lived experience of race, gender, sexuality, and class; and as one of the most important expressive forms and historical records left by members of the working class as a whole.

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