By Allen Mendenhall*
Samuel Moyn, a Yale law professor, recently asked, “What is ‘cultural Marxism?’” His answer: “Nothing of the kind actually exists.” Moyn attributes the term cultural Marxism
to the “runaway alt-right imagination,” claiming that it implicates
zany conspiracy theories and has been “percolating for years through
global sewers of hatred.”
Alexander Zubatov, an attorney writing in Tablet, countered that the “somewhat unclear and contested” term cultural Marxism
“has been in circulation for over forty years.” It has, moreover,
“perfectly respectable uses outside the dark, dank silos of the far
right.” He concluded that cultural Marxism is neither a “conspiracy” nor
a “mere right-wing ‘phantasmagoria,’” but a “coherent intellectual
program, a constellation of dangerous ideas.”
In this debate, I side with Zubatov. Here’s why.
Despite the bewildering range of controversies and meanings
attributed to it, cultural Marxism (the term and the movement) has a
deep, complex history in Theory. The word “Theory” (with a capital T) is
the general heading for research within the interpretative branches of
the humanities known as cultural and critical studies, literary
criticism, and literary theory — each of which includes a variety of
approaches from the phenomenological to the psychoanalytic. In the
United States, Theory is commonly taught and applied in English
departments, although its influence is discernable throughout the
humanities.
A brief genealogy of different schools of Theory — which originated
outside English departments, among philosophers and sociologists for
example, but became part of English departments’ core curricula — shows
not only that cultural Marxism is a nameable, describable phenomenon,
but also that it proliferates beyond the academy.
Scholars versed in Theory are reasonably suspicious of crude, tendentious portrayals of their field. Nevertheless, these fields retain elements of Marxism that, in my view, require heightened and sustained scrutiny. Given estimates that communism killed over 100 million people, we must openly and honestly discuss those currents of Marxism that run through different modes of interpretation and schools of thought. To avoid complicity, moreover, we must ask whether and why Marxist ideas, however attenuated, still motivate leading scholars and spread into the broader culture.
English departments sprang up in the United States in the late 19th
and early 20th century, ushering in increasingly professionalized
studies of literature and other forms of aesthetic expression. As
English became a distinct university discipline with its own curriculum,
it moved away from the study of British literature and canonical works
of the Western tradition in translation, and toward the philosophies
that guide textual interpretation.
Although a short, sweeping survey of what followed may not satisfy
those in the field, it provides others with the relevant background.
The New Criticism
The first major school to establish itself in English departments was
the New Criticism. Its counterpart was Russian formalism, characterized
by figures like Victor Shklovsky and Roman Jakobson, who attempted to
distinguish literary texts from other texts, examining what qualities
made written representations poetic, compelling, original, or moving
rather than merely practical or utilitarian.
One such quality was defamiliarization. Literature, in other words,
defamiliarizes language by using sound, syntax, metaphor, alliteration,
assonance, and other rhetorical devices.
The New Criticism, which was chiefly pedagogical, emphasized close
reading, maintaining that readers searching for meaning must isolate the
text under consideration from externalities like authorial intent,
biography, or historical context. This method is similar to legal
textualism whereby judges look strictly at the language of a statute,
not to legislative history or intent, to interpret the import or meaning
of that statute. The New Critics coined the term “intentional fallacy”
to refer to the search for the meaning of a text anywhere but in the
text itself. The New Criticism is associated with John Crowe Ransom,
Cleanth Brooks, I. A. Richards, and T.S. Eliot. In a way, all subsequent
schools of Theory are responses or reactions to the New Criticism.
Structuralism and Post-Structuralism
Structuralism permeated French intellectual circles in the 1960s.
Through structuralism, thinkers like Michel Foucault, Jacques Lacan,
Julia Kristeva, and Louis Althusser imported leftist politics into the
study of literary texts. Structuralism is rooted in the linguistics of
Ferdinand de Saussure, a Swiss linguist who observed how linguistic
signs become differentiated within a system of language. When we say or
write something, we do it according to rules and conventions in which
our anticipated audience also operates. The implied order we use and
communicate in is the “structure” referred to in structuralism.
The French anthropologist Claude Levi-Strauss extended Saussure’s
ideas about the linguistic sign to culture, arguing that the beliefs,
values, and characteristic features of a social group function according
to a set of tacitly known rules. These structures are “discourse,” a
term that encompasses cultural norms and not just language practices.
Out of structuralism and post-structuralism emerged Structural
Marxism, a school of thought linked to Althusser that analyzes the role
of the state in perpetuating the dominance of the ruling class, the
capitalists.
Marxism and Neo-Marxism
In the 1930s and 1940s, the Frankfurt School popularized the type of
work usually labeled as “cultural Marxism.” Figures involved or
associated with this school include Erich Fromm, Theodore Adorno, Max
Horkheimer, Herbert Marcuse, and Walter Benjamin. These men revised,
repurposed, and extended classical Marxism by emphasizing culture and
ideology, incorporating insights from emerging fields such as
psychoanalysis, and researching the rise of mass media and mass culture.
Dissatisfied with economic determinism and the illusory coherence of
historical materialism—and jaded by the failures of socialist and
communist governments—these thinkers retooled Marxist tactics and
premises in their own ways without entirely repudiating Marxist designs
or ambitions.
Beginning in the 1960s and 1970s, scholars like Terry Eagleton and
Fredric Jameson were explicit in embracing Marxism. They rejected the
New Critical approaches that divorced literature from culture, stressing
that literature reflected class and economic interest, social and
political structures, and power. Accordingly, they considered how
literary texts reproduced (or undermined) cultural or economic
structures and conditions.
Slavoj Žižek arguably has done more than any member of the Frankfurt School to integrate psychoanalysis into Marxist variants. “Žižek’s scholarship holds a particularly high place within cultural criticism that seeks to account for the intersections between psychoanalysis and Marxism,” wrote the scholar Erin Labbie.1 She added, “Žižek’s prolific writings about ideology, revealing the relationships between psychoanalysis and Marxism, have altered the way in which literary and cultural criticism is approached and accomplished to the extent that most scholars can no longer hold tightly to the former notion that the two fields are at odds.”2 Žižek is just one among many continental philosophers whose Marxist and Marxist-inflected prognostications command the attention of American academics.
Deconstruction
Jacques Derrida is recognized as the founder of deconstruction. He
borrowed from Saussure’s theory that the meaning of a linguistic sign
depends on its relation to its opposite, or to things from which it
differs. For instance, the meaning of male depends on the meaning of
female; the meaning of happy depends on the meaning of sad; and so
forth. Thus, the theoretical difference between two opposing terms, or
binaries, unites them in our consciousness. And one binary is privileged
while the other is devalued. For example, “beautiful” is privileged
over “ugly,” and “good” over “bad.”
The result is a hierarchy of binaries that are contextually or
arbitrarily dependent, according to Derrida, and cannot be fixed or
definite across time and space. That is because meaning exists in a
state of flux, never becoming part of an object or idea.
Derrida himself, having re-read The Communist Manifesto, recognized the “spectral” furtherance of a “spirit” of Marx and Marxism.3 Although Derrida’s so-called “hauntology” precludes the messianic meta-narratives of unfulfilled Marxism, commentators have salvaged from Derrida a modified Marxism for the climate of today’s “late capitalism.”
Derrida used the term diffèrance to describe the elusive
process humans use to attach meaning to arbitrary signs, even if
signs—the codes and grammatical structures of communication — cannot
adequately represent an actual object or idea in reality. Derrida’s
theories had a broad impact that enabled him and his followers to
consider linguistic signs and the concepts created by those signs, many
of which were central to the Western tradition and Western culture. For
example, Derrida’s critique of logocentrism contests nearly all
philosophical foundations deriving from Athens and Jerusalem.
New Historicism
New Historicism, a multifaceted enterprise, is associated with
Shakespearean scholar Stephen Greenblatt. It looks at historical forces
and conditions with a structuralist and post-structuralist eye, treating
literary texts as both products of and contributors to discourse and
discursive communities. It is founded on the idea that literature and
art circulate through discourse and inform and destabilize cultural
norms and institutions.
New historicists explore how literary representations reinforce power
structures or work against entrenched privilege, extrapolating from
Foucault’s paradox that power grows when it is subverted because it is
able to reassert itself over the subversive person or act in a show of
power. Marxism and materialism often surface when new historicists seek
to highlight texts and authors (or literary scenes and characters) in
terms of their effects on culture, class, and power. New historicists
focus on low-class or marginalized figures, supplying them with a voice
or agency and giving them overdue attention. This political reclamation,
while purporting to provide context, nevertheless risks projecting
contemporary concerns onto works that are situated in a particular
culture and historical moment.
In the words of literary critic Paul Cantor, “There is a difference between political approaches to literature and politicized approaches, that is, between those that rightly take into account the centrality of political concerns in many literary classics and those that willfully seek to reinterpret and virtually recreate class works in light of contemporary political agendas.”4
Cultural Marxism Is Real
Much of the outcry about cultural Marxism is outrageous, uninformed,
and conspiratorial. Some of it simplifies, ignores, or downplays the
fissures and tensions among leftist groups and ideas. Cultural Marxism
cannot be reduced, for instance, to “political correctness” or “identity
politics.” (I recommend Andrew Lynn’s short piece “Cultural Marxism” in
the Fall 2018 issue of The Hedgehog Review for a concise critique of sloppy and paranoid treatments of cultural Marxism.)
Nevertheless, Marxism pervades Theory, despite the competition among
the several ideas under that broad label. Sometimes this Marxism is
self-evident; at other times, it’s residual and implied. At any rate, it
has attained a distinct but evolving character as literary scholars
have reworked classical Marxism to account for the relation of
literature and culture to class, power, and discourse.
Feminism, gender studies, critical race theory, post-colonialism,
disability studies — these and other disciplines routinely get pulled
through one or more of the theoretical paradigms I’ve outlined. The fact
that they’re guided by Marxism or adopt Marxist terms and concepts,
however, does not make them off-limits or unworthy of attention.
Which brings me to a warning: Condemning these ideas as forbidden, as
dangers that corrupt young minds, might have unintended consequences.
Marxist spinoffs must be studied to be comprehensively
understood. Don’t remove them from the curriculum: contextualize them,
challenge them, and question them. Don’t reify their power by ignoring
or neglecting them.
Popular iterations of cultural Marxism reveal themselves in the
casual use of terms like “privilege,” “alienation,” “commodification,”
“fetishism,” “materialism,” “hegemony,” or “superstructure.” As Zubatov
wrote for Tablet, “It is a short step from Gramsci’s ‘hegemony’
to the now-ubiquitous toxic memes of ‘patriarchy,’ ‘heteronormativity,’
‘white supremacy,’ ‘white privilege,’ ‘white fragility,’ ‘and
whiteness.’” He adds, “It is a short step from the Marxist and cultural
Marxist premise that ideas are, at their core, expressions of power to
rampant, divisive identity politics and the routine judging of people
and their cultural contributions based on their race, gender, sexuality
and religion.”
My brief summary is merely the simplified, approximate version of a
much larger and more complex story, but it orients curious readers who
wish to learn more about cultural Marxism in literary studies. Today,
English departments suffer from the lack of a clearly defined mission,
purpose, and identity. Having lost rigor in favor of leftist politics as
their chief end of study, English departments at many universities are
jeopardized by the renewed emphasis on practical skills and jobs
training. Just as English departments replaced religion and classics
departments as the principal places to study culture, so too could
future departments or schools replace English departments.
And those places may not tolerate political agitations posturing as pedagogical technique.
The point, however, is that cultural Marxism exists. It has a
history, followers, adherents, and left a perceptible mark on academic
subjects and lines of inquiry. Moyn may wish it out of existence, or
dismiss it as a bogeyman, but it is real. We must know its effects on
society, and in what forms it materializes in our culture. Moyn’s
intemperate polemic demonstrates, in fact, the urgency and importance of
examining cultural Marxism, rather than closing our eyes to its
meaning, properties, and significance.
Editor’s Note: Allen Mendenhall’s recent video interview with the Martin Center touches on themes from this article.
This article was originally published by the Martin Center.
*About the author: Allen Mendenhall is Associate Dean and Executive Director of the Blackstone Center for Law and Liberty at Faulkner University Thomas Goode Jones School of Law. Visit his website at AllenMendenhall.com.
Source: This article was published by the MISES Institute
Notes:
1. Erin F. Labbie, “Žižek Avec Lacan: Splitting the Dialectics of Desire,” Slovene Studies, Vol. 25 (2003), p. 23.
2. Ibid.
3. Jacques Derrida, Specters of Marx (Peggy Kamuf, trans.) (New York and London: Routledge, 1994), p. 3-4.
4. Paul Cantor, “Shakespeare—‘For all time’?” The Public Interest , Issue 110 (1993), p. 35.