criticism involves consciousness

Where intellectual discourse, including literary texts, becomes relevant, it is develop in the terms of socioeconomic analysis:

The mode of mathematical product of material life conditions the mixer, political and intellectual life butt on in general. It is not the consciousness of men hat determines their being, but, on the contrary, their social being that determines their consciousness. . . . Just as our opinion of an individualist is not based on what h thinks o himself, so can we not judge of such a expiration of transformation by its own consciousness; on the contrary, this consciousness must be explained rather from the contradictions of material life, from the existing bout between the social productive forces and the relations of product (Marx, lead 775).

The logical extension of that analysis is that cultural artifacts are zip fastener so much as social constructions, having been conditioned by the inputs of social norms, and for that exact reason are subject to examen through the prism of social analysis. Indeed, it follows that it is the critic who--like Marx--has abstracted from and determine the sociocultural inputs as decisive in the pattern of ideas and the communicatory/poetical strategies for developing them who is uniquely positioned to explain meaning.

Marx's utopian protagonism of the coming dictatorship o

Marcuse adds that " raft recognize themselves in their commodities" (9) rather than values, all of which adds up to social control by way of consumerism, a refetishization of the industrial-production commodities of which Marx speaks.

Marx, Karl. "From Capital." The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. refreshing York: W.W. Norton, 2001. 776-87.

Flaubert, Gustave. Madame Bovary. New York: The Book League of America, 1940.

Biographical and psychological inside information of the artist, the historic/social/cultural/mythic/moral mise en scene in which the artist functioned, even the artist's ideology are to be discounted in favor of the reified and scrutinized patterns of ideas and as it were means of idea production that the critic has found and that the critic is well suited to explicating and clarifying. support says that psychology and biography "take[] the critic away from the work" (1367). It is troublesome to conceive of a critical project more antithetic to the history-bound social theory of Marxism. Ransom more or slight lumps the competing schools of critical thought into a group he calls the "diversionists" (1111), although he more or less grudgingly acknowledges the value of historical scholarship.

[C]ertain significant forms within the realm of the arts are practicable only at an undeveloped stage of artistic development. . . . As soon as they have been specified, they are already subtle (Marx, Grundrisse 771.

Eagleton, Terry. Literary Theory: An Introduction. 2nd ed. Minneapolis, Minn.: U of Minnesota P, 2003.

Gorky, Maxim. The overturn Depths. Masters of Modern Drama. Ed. Haskell M. Block and Robert G. Shedd. New York: Random House, 1966. 218-44.

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