“Animal Man”
Marcuse explains, “the first turning point was, according to the Freudian hypothesis, an event in geological history, and while the second occurred at the beginning of civilization, the third turning point would be located at the highest attained level of civilization. The actor in this event would be no longer the historical animal man but the conscious, rational subject that has mastered and appropriated the objective World as the arena of his realization.” “Animal Man” alludes to an uncivilized man whose rationality is limited. The man is similar to an animal because he depicts animal-like affinities that affirm that he is not civilized. Civilization reduces his animal-like behaviors by making him logical.
“Culture-heroes”
Marcuse writes, “More specifically, we look for the “culture-heroes " who have persisted in imagination as symbolizing the attitude and the deeds that have determined the fate of mankind. And here at the outset we are confronted with the fact that the predominant culture-hero is the trickster and (suffering) rebel against the gods, who creates culture at the price of perpetual pain” Culture-heroes are influential persons who spearhead the propagation of cultural trends. They encourage lifestyles or actions that are adopted by the masses. Such heroes are looked upon as legends by various generations due to their accomplishments. They are admired greatly and looked upon as ideal models and gods.
“Beauty as the Symbol of Morality”
Marcus reports, “The famous Paragraph of the Critique is entitled " Of Beauty as the Symbol of Morality." In Kant's system, morality is the realm of freedom, in which practical reason realizes itself under self-given laws. Beauty symbolizes this realm in so far as it demonstrates intuitively the reality of freedom.” In the metaphoric title, Kant implies that beauty is synonymous with morality. Therefore, a beautiful object or person is automatically deemed to be moral. Therefore, physical form influences interpretations of morality which may not be accurate.
