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ContCultural Theory Text Pages  4/4/03  1:42 PM  Page 14





                                      Contemporary Cultural Theory



                   brought about an equally unprecedented transformation in the
                   social position and status of cultural producers, such as writers,
                   artists, priests and teachers, those whom we might today desig-
                   nate as, collectively, ‘the intelligentsia’. Earlier forms of cultural
                   ‘patronage’ had guaranteed the material security of cultural
                   producers at the price of a radical subordination of intellectual
                   life to the church, the aristocracy and the royal court. Such
                   cultures required no specifically cultural theory, but only a
                   theology or a politics. In capitalist society, however, what Peter
                   Bürger terms ‘the separation of art from the praxis of life’
                   becomes the decisive characteristic of ‘the autonomy of bourgeois
                   art’ (Bürger, 1984, p. 49).
                      The term ‘autonomy’ here denotes both relative freedom
                   from social control and a corresponding social irrelevance
                   (cf. Marcuse, 1968). These autonomies have never appeared
                   either unproblematic or uncontestable, either to the cultural
                   producers themselves or to others. Hence the various forms of
                   political and religious intervention in the cultural commodity
                   market—for example censorship, subsidy and education. The
                   cultural conflicts thereby instigated are evidence, according to
                   Williams, ‘of the most significant modern form of asymmetry’
                   (Williams, 1981, p. 102), between capitalist mechanical repro-
                   duction and the older established institutions of cultural and
                   social reproduction. As one consequence among many, such
                   asymmetries have prompted the emergence of contemporary
                   cultural theory, not as a single body of authoritative discourse,
                   but as a set of competing, often mutually exclusive, often inter-
                   nally contradictory, almost always deeply troubled, narrative
                   paradigms. Cultural theory is thus the discursive articulation
                   of a set of characteristically modern social contradictions,
                   which structure the lived experiences of characteristically
                   modern kinds of intellectuals. In a society as thoroughly encul-
                   tured as is ours, such theories become, by turn, the property
                   not only of specialist intellectuals, but also of the collective lives
                   of whole communities. They are, then, matters of no small
                   consequence.




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