Marxism and Critical Theory
Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class distinctions through the medium of literature. Marxist theorists use traditional techniques of literary analysis but subordinate aesthetic concerns to the final social and political meanings of literature. Marxist theorist often champion authors sympathetic to the working classes and authors whose work challenges economic equalities found in capitalist societies. In keeping with the totalizing spirit of Marxism, literary theories arising from the Marxist paradigm have not only sought new ways of understanding the relationship between economic production and literature, but all cultural production as well. Marxist analyses of society and history have had a profound effect on literary theory and practical criticism, most notably in the development of “New Historicism” and “Cultural Materialism.”
The Hungarian theorist Georg Lukacs contributed to an understanding of the relationship between historical materialism and literary form, in particular with realism and the historical novel. Walter Benjamin broke new ground in his work in his study of aesthetics and the reproduction of the work of art. The Frankfurt School of philosophers, including most notably Max Horkheimer, Theodor Adorno, and Herbert Marcuse—after their emigration to the United States—played a key role in introducing Marxist assessments of culture into the mainstream of American academic life. These thinkers became associated with what is known as “Critical theory,” one of the constituent components of which was a critique of the instrumental use of reason in advanced capitalist culture. “Critical theory” held to a distinction between the high cultural heritage of Europe and the mass culture produced by capitalist societies as an instrument of domination. “Critical theory” sees in the structure of mass cultural forms—jazz, Hollywood film, advertising—a replication of the structure of the factory and the workplace. Creativity and cultural production in advanced capitalist societies were always already co-opted by the entertainment needs of an economic system that requires sensory stimulation and recognizable cliché and suppressed the tendency for sustained deliberation.
The major Marxist influences on literary theory since the Frankfurt School have been Raymond Williams and Terry Eagleton in Great Britain and Frank Lentricchia and Fredric Jameson in the United States. Williams is associated with the New Left political movement in Great Britain and the development of “Cultural Materialism” and the Cultural Studies Movement, originating in the 1960s at Birmingham University’s Center for Contemporary Cultural Studies. Eagleton is known both as a Marxist theorist and as a popularizer of theory by means of his widely read overview, Literary Theory. Lentricchia likewise became influential through his account of trends in theory, After the New Criticism. Jameson is a more diverse theorist, known both for his impact on Marxist theories of culture and for his position as one of the leading figures in theoretical postmodernism. Jameson’s work on consumer culture, architecture, film, literature and other areas, typifies the collapse of disciplinary boundaries taking place in the realm of Marxist and postmodern cultural theory. Jameson’s work investigates the way the structural features of late capitalism—particularly the transformation of all culture into commodity form—are now deeply embedded in all of our ways of communicating.
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Marxism and Critical Theory
Marxism and Critical Theory
Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class distinctions through the medium of literature. Marxist theorists use traditional techniques of literary analysis but subordinate aesthetic concerns to the final social and political meanings of literature. Marxist theorist often champion authors sympathetic to the working classes and authors whose work challenges economic equalities found in capitalist societies. In keeping with the totalizing spirit of Marxism, literary theories arising from the Marxist paradigm have not only sought new ways of understanding the relationship between economic production and literature, but all cultural production as well. Marxist analyses of society and history have had a profound effect on literary theory and practical criticism, most notably in the development of “New Historicism” and “Cultural Materialism.”
The Hungarian theorist Georg Lukacs contributed to an understanding of the relationship between historical materialism and literary form, in particular with realism and the historical novel. Walter Benjamin broke new ground in his work in his study of aesthetics and the reproduction of the work of art. The Frankfurt School of philosophers, including most notably Max Horkheimer, Theodor Adorno, and Herbert Marcuse—after their emigration to the United States—played a key role in introducing Marxist assessments of culture into the mainstream of American academic life. These thinkers became associated with what is known as “Critical theory,” one of the constituent components of which was a critique of the instrumental use of reason in advanced capitalist culture. “Critical theory” held to a distinction between the high cultural heritage of Europe and the mass culture produced by capitalist societies as an instrument of domination. “Critical theory” sees in the structure of mass cultural forms—jazz, Hollywood film, advertising—a replication of the structure of the factory and the workplace. Creativity and cultural production in advanced capitalist societies were always already co-opted by the entertainment needs of an economic system that requires sensory stimulation and recognizable cliché and suppressed the tendency for sustained deliberation.
The major Marxist influences on literary theory since the Frankfurt School have been Raymond Williams and Terry Eagleton in Great Britain and Frank Lentricchia and Fredric Jameson in the United States. Williams is associated with the New Left political movement in Great Britain and the development of “Cultural Materialism” and the Cultural Studies Movement, originating in the 1960s at Birmingham University’s Center for Contemporary Cultural Studies. Eagleton is known both as a Marxist theorist and as a popularizer of theory by means of his widely read overview, Literary Theory. Lentricchia likewise became influential through his account of trends in theory, After the New Criticism. Jameson is a more diverse theorist, known both for his impact on Marxist theories of culture and for his position as one of the leading figures in theoretical postmodernism. Jameson’s work on consumer culture, architecture, film, literature and other areas, typifies the collapse of disciplinary boundaries taking place in the realm of Marxist and postmodern cultural theory. Jameson’s work investigates the way the structural features of late capitalism—particularly the transformation of all culture into commodity form—are now deeply embedded in all of our ways of communicating.
Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class distinctions through the medium of literature. Marxist theorists use traditional techniques of literary analysis but subordinate aesthetic concerns to the final social and political meanings of literature. Marxist theorist often champion authors sympathetic to the working classes and authors whose work challenges economic equalities found in capitalist societies. In keeping with the totalizing spirit of Marxism, literary theories arising from the Marxist paradigm have not only sought new ways of understanding the relationship between economic production and literature, but all cultural production as well. Marxist analyses of society and history have had a profound effect on literary theory and practical criticism, most notably in the development of “New Historicism” and “Cultural Materialism.”
The Hungarian theorist Georg Lukacs contributed to an understanding of the relationship between historical materialism and literary form, in particular with realism and the historical novel. Walter Benjamin broke new ground in his work in his study of aesthetics and the reproduction of the work of art. The Frankfurt School of philosophers, including most notably Max Horkheimer, Theodor Adorno, and Herbert Marcuse—after their emigration to the United States—played a key role in introducing Marxist assessments of culture into the mainstream of American academic life. These thinkers became associated with what is known as “Critical theory,” one of the constituent components of which was a critique of the instrumental use of reason in advanced capitalist culture. “Critical theory” held to a distinction between the high cultural heritage of Europe and the mass culture produced by capitalist societies as an instrument of domination. “Critical theory” sees in the structure of mass cultural forms—jazz, Hollywood film, advertising—a replication of the structure of the factory and the workplace. Creativity and cultural production in advanced capitalist societies were always already co-opted by the entertainment needs of an economic system that requires sensory stimulation and recognizable cliché and suppressed the tendency for sustained deliberation.
The major Marxist influences on literary theory since the Frankfurt School have been Raymond Williams and Terry Eagleton in Great Britain and Frank Lentricchia and Fredric Jameson in the United States. Williams is associated with the New Left political movement in Great Britain and the development of “Cultural Materialism” and the Cultural Studies Movement, originating in the 1960s at Birmingham University’s Center for Contemporary Cultural Studies. Eagleton is known both as a Marxist theorist and as a popularizer of theory by means of his widely read overview, Literary Theory. Lentricchia likewise became influential through his account of trends in theory, After the New Criticism. Jameson is a more diverse theorist, known both for his impact on Marxist theories of culture and for his position as one of the leading figures in theoretical postmodernism. Jameson’s work on consumer culture, architecture, film, literature and other areas, typifies the collapse of disciplinary boundaries taking place in the realm of Marxist and postmodern cultural theory. Jameson’s work investigates the way the structural features of late capitalism—particularly the transformation of all culture into commodity form—are now deeply embedded in all of our ways of communicating.
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