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Great Literature and Its Cultural Contexts

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Ok, it seems that nobody today wants to be considered elitist in our culture, as I have been writing about in my recent posts on Ways to Approach Great Literature. For many readers, Cultural Study is an antidote to elitism.

Here, for example, we would consider recent Great Writers of English Literature and their works in order to see how the culture of 19th and 20th century Great Britain formed those writers and works and how those writers through their works reflected their culture.

A basic assumption of Cultural Studies is that we all are products of the dominant culture. A few of us may be perceptive enough to know that and to react against it, but only of few can ever truly separate themselves from the power culture—even when we might think we have done so. Except, of course, those invisible people all around us who are rejected from the power culture.

Or, to ask a question from the last post again, Do the desperately poor from the Third World, for example, create art? Can that art ever possibly be considered great? Most readers would say no simply because the creation of art requires some measure of leisure.

So, one way to approach the Major British Writers and all the Great Writers is to notice what values they assume in their Great Literature. How do their values support the privileged class? When do they subvert the assumptions of power and privilege? What writers are mouthpieces of the power class and what writers countermand the assumptions of power?

In other words, we can see how these writers respond to their culture. Because they are distant from us much will be transparent. Perhaps, then, we can turn to our own culture and begin to see how it works as well.

This approach, however, presents as many problems, if not more, as elitist approaches. Nevertheless, cultural studies in its many guises, such as Postcolonial, Feminist, Gender, Popular Culture studies, dominate current academic debates in literature and English departments in the U.S. and especially in the U.K. Thus, what I have been talking about in this very short post is merely a blurb for the complex but favored Way to Approach Great Literature (as well as less than great literature). Preeminent among those problems of cultural studies is that literature no longer is read for its own artistic value but is seen as valuable primarily as artifacts for studying culture, then and now. In fact, most cultural critics would not separate Great Literature from other literature, the distinction between High Culture and Low Culture no longer being considered valid in any of the arts.

What do you think? Leave comments in the box below and be sure to keep reading these posts already posted on Ways to Approach Great Literature. Stay tuned for more next Thursday.

 

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