Bowden! - 9 - Frankfurt School Revisionism
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Summary
In this episode, we look at cultural Marxism, critical theory, and the Frankfurt School, and how they all went hand in hand in the development of the Marxist project in the 20th century. Richard and Jonathan discuss the origins of cultural Marxism and critical theory.
Transcript
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Welcome to Vanguard, a podcast of radical traditionalism.
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And welcome back, Jonathan Bowden, as well, my partner in thought crime.
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That's quite an apt term for the subject of discussion this week,
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and that is cultural Marxism, critical theory, and the Frankfurt School.
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Those are, of course, three distinct things, but they're obviously interrelated as well,
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I think it would be a good idea to look at cultural Marxism historically
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and ask where it's coming from, and in particular, what was the milieu like in interwar Germany
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where so many of these figures like Adorno and Benjamin and Horkheimer arose?
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Yes. It's a sort of, I think you've got waves of feminism that we discussed in a previous podcast,
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and now you've got waves of Marxism or waves within waves.
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Marxism, when it started out, of course, had a lot of cultural theory attached to it,
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and Marx was heavily influenced by utopian socialist theory early on
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in the so-called Paris manuscripts and that sort of thing.
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That was all junked, and Marxism became a heavily economically concentric discourse,
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A sort of alleged science now regarded 150 years on from those events as a sort of pseudoscience,
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and this remained in play until the early stages of the 20th century,
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and Marxist parties tended to replicate that at a lower sort of political level.
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But in and around the First World War, with Gramsci's ideas,
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which he wrote down in the prison notebooks when he was interned,
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whereby Gramsci had the idea that the superstructure and the base of society were disconnected
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so that things could exist at a cultural level which were not totally economically determined
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and couldn't be held completely to be economically managed.
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also that, in order to discuss them, he needed a wider field of reference.
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Partly, this was the desire of frustrated intellectuals who wanted to use Marxism,
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who also wanted to discuss culture, which was their abiding source of interest.
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But it was also an attempt to broaden the appeal of Marxian ideas.
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And in the 30s and the 20s in Germany, schools of rioters began to emerge
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that were only concerned with man in society, in John Flaminance's view, term,
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were not concerned really with econometrics or economic determinism at all,
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I remember a Marxian deconstructionist lecturer once telling me 30 years ago
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that the bourgeois goes to life with common sense, the Marxist with his theory,
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and this theoretical overload whereby everything in life has to be theorized
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and every text that one comes across has to be subjected to critical analysis
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gave rise to this school that was concerned with the examination of literary texts,
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with cultural anthropology, with sociology, with social psychology,
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with adaptations of most of the social sciences to life,
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For instance, Fritz Naarman's large bull bear moth,
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which is an Marxian analysis of the economics of National Socialist Germany,
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was one of the few books of economics that was ever written
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Most of it was concerned with cultural critique and critical cultural theory
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involving very outlandish areas, such as sociology of music,
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which was a particular area of Adorno's concern.
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It's worth pointing out that the Marxist project had failed on its own terms by the 1930s
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in the sense that Gramsci, and I believe Gramsci, some of his writings weren't really known
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But anyway, Gramsci was put in prison by fascists.
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and they had defeated a lot of the Marxist parties.
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They had some proletarian support, I'm sure, things like this.
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The whole Marxian project of an economic determinism, of capitalism creating these contradictions
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that create some kind of apocalyptic-like scenario, and then the proletariat rise up,
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And also, with Frankfurt School members, at least ostensibly,
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they were highly critical of what the Soviet Union had become,
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It was maybe something they deemed a perversion.
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And also, it's worth pointing out that in this,
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if we're talking about the Frankfurt School milieu of Adorno and Benjamin,
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you had people who probably weren't that interested in economics.
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You know, Benjamin, some of his great writings are on 19th century culture in one book,
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but aphoristic writings about life in the modern age.
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And certainly, Adorno was kind of a classical music snob.
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He was very interested in Beethoven and something like that.
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So anyway, it's a very, very interesting milieu that all of this came out of.
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But maybe, Jonathan, where did it, you know, or you can talk about two things.
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Where was it going, and what was really the essence of their cultural project?
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I think the essence of their cultural project was to revolutionarily change
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the way in which Western culture was thought about and received.
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So it was a grandstanding ambition, at any rate.
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It was to totally change the way in which Western culture was perceived
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by those who created it and by those who were the receptors of its creation.
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I think this involved an attempt, basically, to go back to the theory
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it's really about the pre-revolutionary theories
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and is a critique of the Enlightenment from the left, not the right.
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So they begin by going back, as radical theorists always do,
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to first principles and criticise the Enlightenment.
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And their criticism of the Enlightenment is essentially an attempt
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by a scientific man, or would-be scientific man,
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to dominate nature, and in so doing, enact an enormous revenge.
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The great theory about fascism in A Dialectic of Enlightenment
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by Adorno and Horkheimer is the idea that fascism represents
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And it's the revenge of a sociobiological current
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So already you're getting some strange ideas here.
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You're getting a sort of anti-progressive leftism.
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You're getting leftism which is critical of capitalism and modernity,
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whereas classical Marxism is extraordinarily in favour
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They just wish to succeed it with another stage,
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when we were first thinking about doing a podcast on this,
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is actually somewhat familiar with the Frankfurt School,
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as the source of the 1960s and political correctness
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But I always feel that I don't really recognise cultural Marxism
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in the way that it's often depicted by movement ideologues.
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put a little pressure on that idea of enlightenment
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Just as an aside, I met this German when I was in graduate school.
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He mentioned that he only read Adorno in translation,
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against the communist wave or something like that.
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They're seeing fascism as coming out of a bourgeois world.
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And I think they picture this in the form of Odysseus,
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and is kind of going to renounce man's more natural being
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hard, you know, modern man of there's a world to be made.
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one that might even have some conservative tendencies
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in the sense of being critical of the abuses against nature.
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Yes, it's a sort of, it's an odd one, actually,
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because it's a sort of would-be foundational leftism,
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strongly influenced by the cultural critique, you see.
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Instead of seeing the Enlightenment as progressive,
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as a period, it's proprietary to bourgeois revolutions,
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So they have a differentiated appreciation of these things.
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They also have to find the enemy somewhere else,
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and as Leninism and Stalinism led to the alleged resolution of,
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alienation from what they call the cultural industry,
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within the cultural space created by the economy,
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They would never use those sorts of terms, of course,
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and they would consider them to be reactionary,
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particularly about the cultural life of the masses,
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included conservative features of the Frankfurt School
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under one of the headings of cultural conservatism
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in relation to what they regarded it as leading to,
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the classical sort of Schumann, Schubert, Mozart,
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they're in favor of radical bourgeois subjectivity,
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It's part of the seamless liberal left discourse
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that straddles the centre and goes right out to the
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softer reaches of the far left, bifurcated from the hard left
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They play a role in defeating the culture of conservatism
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there's a discourse which has only emerged from art
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You see the deconstruction and the breaking down
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They are the intellectual tip of the liberal society,
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which has stepped away from the conservative society
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to a liberal instead of a conservative society,
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media, culture and culturally disseminating strata.
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And this has continued throughout the decades since the 1960s.
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So you have a situation where over this 50-year period,
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throughout all of the institutions that matter,
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and without endorsement of anti-humanist crimes committed by the ultra-left
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has become the default position for many people in the arts,
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to do with nearly all institutions of the state,
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that the areas of state power that rely on the use of force,
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almost all other areas have been infected by these types of theory.
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is heavily influenced by at least a proportion of these sorts of ideas.
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in which the schizophrenic is seen as the last readout of sanity
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you have to look to the insane to find the readout of sanity.
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that conservatives essentially just laughed at.
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and cultural conservatives have retreated before it,
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to such a degree that there's hardly any of them left.
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I think cultural Marxism has infected the military in the United States.
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But we had a major army general claiming that diversity is the great strength of America's armed forces,
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as they go overseas to bring women into undergraduate colleges.
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picking up on all of these ideas you've put forward,
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And if you think about major avant-garde modernist movements,
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this is something that lasted maybe four years.
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they've been doing the same stuff for maybe 40 or 50 years now.
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it's one attempt to shock the bourgeoisie after another,
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and certainly institutionalized in the sense of,
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go get a master's of fine arts at all these institutions and,
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it's a very strange thing about our culture where we have this,
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this conservatism amongst postmodern cultural Marxism.
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because political correctness has become so obvious or,
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it's something easily ridiculed that it's going to be overturned or,
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It might be a bit too optimistic in the short run.
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I think it's become institutionalized in a way which those art movements,
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They usually row intensely with the major figures who sort of break from each other over a finite period.
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Surrealism almost came to an end when Breton insisted that they all join the Communist Party in France,
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They joined it for discussion and for alcoholic treats and to meet women,
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And that's what most people join art movements for.
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And it's also not particularly concerned with creation either.
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It's concerned with reflexive creativity academically.
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So somebody will go through the process of a first degree, a second degree.
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They'll get the PhD, which is influenced by one of these theoretical figures.
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Then they'll become a tenured lecturer over time,
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and they provide a paradigm or a model for their students as they come up.
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So the thing becomes replicating over a career path.
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What you've had is you've had a couple of generations who've now done this within the academy.
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And they've also worked for a situation where there's very little kick against them
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because there's very little right-wing left in the academy.
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The pressure vows have been put on it to such a degree
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And this has meant the rather desert-like, arid terrain of the new left,
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small end, small end, really, now dominates the tertiary sector of education.
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In a mass capitalist world where they feel that people are degraded by the cultural industry,
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nevertheless, what you might call the PBS culture,
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is completely saturated with this sort of material.
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And there's little way to shake it at the present time
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or unless a way can be worked for forces of counterculture
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Probably only on the internet is the space that they can now adopt.
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All of these ideas, such as this podcast we're having today,
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I've gravitated through the internet because it's the only space left.
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I think that's one thing that's been clear to me for some time.
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But thank you once again for being on the podcast.
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This was a brilliant discussion, and I look forward to another one next week.