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  | pages = 115–120

  | pages = 115–120

  }}</ref> Charles J. Moore, [[Abbie Hoffman]], [[Rudi Dutschke]], and Robert M. Young.

  }}</ref> Charles J. Moore, [[Abbie Hoffman]], [[Rudi Dutschke]], and Robert M. Young.

Marcuse later expressed his radical ideas through three pieces of writing. He wrote ''An Essay on Liberation'' in 1969, in which he celebrated so0called "[[national liberation movement]]s" such as that of the [[Viet Cong]], which inspired many radicals. In 1972 he wrote ''Counterrevolution and Revolt'', which argues that the hopes of the 1960s were facing a counterrevolution from the right.  He published his final work ''The Aesthetic Dimension'' in 1979 on the role of art in the process of what he termed "emancipation" from "[[bourgeois]]" society.

Marcuse later expressed his radical ideas through three pieces of writing. He wrote ''An Essay on Liberation'' in 1969, in which he celebrated so-called "[[national liberation movement]]s" such as that of the [[Viet Cong]], which inspired many radicals. In 1972 he wrote ''Counterrevolution and Revolt'', which argues that the hopes of the 1960s were facing a counterrevolution from the right.  He published his final work ''The Aesthetic Dimension'' in 1979 on the role of art in the process of what he termed "emancipation" from "[[bourgeois]]" society.

Marcuse realized that America is a nation uniquely unburdened by a class structure, at least in the way most European nations are defined along incredibly strict stratifications of class distinction, down to how one’s class can be identified almost immediately just by one’s accent.

Marcuse realized that America is a nation uniquely unburdened by a class structure, at least in the way most European nations are defined along incredibly strict stratifications of class distinction, down to how one’s class can be identified almost immediately just by one’s accent.