When grounded upon Raymond Williams’ concept of the dominant society and the perpetual flux between filtering residual and emergent cultures, the existence of the novel by such definitions are placed into that of the former. Novels represent a notion of residual culture that has been deeply absorbed within the current superstructure as “they contribute to the effective dominant culture and are a central articulation of it” (Williams 1434), while creating more production for the base through intellectual labour and the process of dominant ideologies that become commoditized. However, the formation and theories of cultural materialism and the consumption of it has led to the analyzation of how certain social and economic cultures
integrated …show more content…
To find meaning in life and a purpose to their existence, those subjugated by the hegemony place their residual social forms in writing which mimics the dominant. Through explaining the otherness of one’s self with the written word rather than physically rebelling, the subjected absolves themselves of a “natural existence in every single detail; and gets rid of it by working on it” (Hegel 546). Rebellion and political upheaval becomes stagnated due to emulating parts of the dominant. Many times this modifies the working-class into various forms of hybridity as they never truly can become one with the dominant, though certain residual cultures can be incorporated to be seen as such to “make sense in those areas” (Williams 1431).
Since novels have become widely incorporated within the larger dominant spectrum of society, it can be used as a tool to mold and “ensure subjection to the ruling ideology” …show more content…
It is very hard to find emergent concepts in literature since almost everything can be considered unoriginal, however when it arises there is a higher chance for it to become absorbed into the dominant due to the fact that its creation is a by-product of the dominant itself. It is in this sense that novels have become a dominant practice in its complexity within the ethos of the superstructure, harnessing residual and emergent culture to its benefit. Overall, novels support and add towards the dominant culture and though it may change it, it never actually overthrows or weighs heavily against the central features of it since the context of a “natural consciousness has not been jeopardized” (Hegel 547) for the labourer who writes or for the readers who read.
To find true residual non-incorporated or emergent non-incorporated novels would be to find the extreme circumstances in which a text actively challenges the dominant with its opposition both inside and outside the realm of art and consequently gains a negative reputation or even further becomes banned to the public for varying social, political, or historical
integrated …show more content…
To find meaning in life and a purpose to their existence, those subjugated by the hegemony place their residual social forms in writing which mimics the dominant. Through explaining the otherness of one’s self with the written word rather than physically rebelling, the subjected absolves themselves of a “natural existence in every single detail; and gets rid of it by working on it” (Hegel 546). Rebellion and political upheaval becomes stagnated due to emulating parts of the dominant. Many times this modifies the working-class into various forms of hybridity as they never truly can become one with the dominant, though certain residual cultures can be incorporated to be seen as such to “make sense in those areas” (Williams 1431).
Since novels have become widely incorporated within the larger dominant spectrum of society, it can be used as a tool to mold and “ensure subjection to the ruling ideology” …show more content…
It is very hard to find emergent concepts in literature since almost everything can be considered unoriginal, however when it arises there is a higher chance for it to become absorbed into the dominant due to the fact that its creation is a by-product of the dominant itself. It is in this sense that novels have become a dominant practice in its complexity within the ethos of the superstructure, harnessing residual and emergent culture to its benefit. Overall, novels support and add towards the dominant culture and though it may change it, it never actually overthrows or weighs heavily against the central features of it since the context of a “natural consciousness has not been jeopardized” (Hegel 547) for the labourer who writes or for the readers who read.
To find true residual non-incorporated or emergent non-incorporated novels would be to find the extreme circumstances in which a text actively challenges the dominant with its opposition both inside and outside the realm of art and consequently gains a negative reputation or even further becomes banned to the public for varying social, political, or historical