Cultural Theory and Popular Culture
Cultural Theory and Popular Culture
Cultural Theory and Popular Culture
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60<br />
Chapter 4 Marxisms<br />
in general’ (1976a: 3). This claim is based on certain assumptions about the relationship<br />
between ‘base’ <strong>and</strong> ‘superstructure’. It is on this relationship – between ‘base’<br />
<strong>and</strong> ‘superstructure’ – that the Marxist account of culture rests.<br />
The ‘base’ consists of a combination of the ‘forces of production’ <strong>and</strong> the ‘relations<br />
of production’. The forces of production refer to the raw materials, the tools, the technology,<br />
the workers <strong>and</strong> their skills, etc. The relations of production refer to the class<br />
relations of those engaged in production. That is, each mode of production, besides<br />
being different, say, in terms of its basis in agrarian or industrial production, is also different<br />
in that it produces particular relations of production: the slave mode produces<br />
master/slave relations; the feudal mode produces lord/peasant relations; the capitalist<br />
mode produces bourgeois/proletariat relations. It is in this sense that one’s class position<br />
is determined by one’s relationship to the mode of production.<br />
The ‘superstructure’ (which develops in conjunction with a specific mode of<br />
production) consists of institutions (political, legal, educational, cultural, etc.), <strong>and</strong><br />
‘definite forms of social consciousness’ (political, religious, ethical, philosophical, aesthetic,<br />
cultural, etc.) generated by these institutions. The relationship between base <strong>and</strong><br />
superstructure is twofold. On the one h<strong>and</strong>, the superstructure both expresses <strong>and</strong> legitimates<br />
the base. On the other, the base is said to ‘condition’ or ‘determine’ the content<br />
<strong>and</strong> form of the superstructure. This relationship can be understood in a range of different<br />
ways. It can be seen as a mechanical relationship (‘economic determinism’) of<br />
cause <strong>and</strong> effect: what happens in the superstructure is a passive reflection of what is<br />
happening in the base. This often results in a vulgar Marxist ‘reflection theory’ of culture,<br />
in which the politics of a text or practice are read off from, or reduced to, the<br />
economic conditions of its production. The relationship can also be seen as the setting<br />
of limits, the providing of a specific framework in which some developments are probable<br />
<strong>and</strong> others unlikely.<br />
After Marx’s death in 1883, Frederick Engels, friend <strong>and</strong> collaborator, found<br />
himself having to explain, through a series of letters, many of the subtleties of Marxism<br />
to younger Marxists who, in their revolutionary enthusiasm, threatened to reduce<br />
it to a form of economic determinism. Here is part of his famous letter to Joseph<br />
Bloch:<br />
According to the materialist conception of history, the ultimately determining element<br />
in history is the production <strong>and</strong> reproduction of real life. Neither Marx nor I<br />
have ever asserted more than this. Therefore if somebody twists this into saying<br />
that the economic factor is the only determining one, he is transforming that<br />
proposition into a meaningless, abstract, absurd phrase. The economic situation is<br />
the basis, but the various components of the superstructure . . . also exercise their<br />
influence upon the course of the historical struggles <strong>and</strong> in many cases determine<br />
their form. . . . We make our own history, but, first of all, under very definite<br />
assumptions <strong>and</strong> conditions. Among these the economic ones are ultimately decisive.<br />
But the political ones, etc., <strong>and</strong> indeed even the traditions which haunt<br />
human minds also play a part, although not the decisive one (2009: 61).