GwenViolet

“the conventional sociology of literature or culture, which modestly limits itself to the identification of class motifs or values in a given text, and feels that its work is done when it shows how a given artifact “reflects” its social background, is utterly unacceptable.”
― Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act

“Can anyone capable of genuinely appreciating Mozart and Mizoguchi possibly say that he is not, in that respect, immeasurably better off than someone whose cultural horizon is limited to bingo and The Black and White Minstrel Show? The assimilation will not necessarily make him a better person (a common, and obviously fallacious, assumption), but it will open to him possibilities that are closed to his less fortunate fellow humans. If that is what is meant by an "élite," then I for one shall not willingly sacrifice my membership of it in the name of some perverse and destructive egalitarianism: to put it succinctly, nothing is ever going to come between me and The Magic Flute. It is not, however, an elite from which I would wish anyone to feel excluded: on the contrary, I would like to share my advantages with as many others as possible. That is why I am a teacher.”
― Robin Paul Wood

“It does seem, in other words, not only more difficult for a woman experimental writer to be accepted than for a woman writer (which corresponds to the male situation of experimental writer vs. writer), but also peculiarly more difficult for a woman experimental writer to be accepted than for a male experimental writer. She may, if young, get caught up in a “movement,” like Djuna Barnes, like H.D., like Laura Riding, as someone’s mistress, and then be forgotten, or if old, she maybe “admitted” into a group, under a label, but never quite as seriously considered as the men in that group.”
― Christine Brooke-Rose, Women Writing