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What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism.

What persuades men and women to mistake each other from time to time for gods or vermin is ideology. One can understand well enough how human beings may struggle and murder for good material reasons—reasons connected, for instance, with their physical survival. It is much harder to grasp how they may come to do so in the name of something as apparently abstract as ideas. Yet ideas are what men and women live by, and will occasionally die for.

It follows that through its constitution ideology is involved in the functioning of this social-imaginary relation, and is therefore necessarily false; its social function is not to give agents a true knowledge of the social structure but simply to insert them as it were into their practical activities supporting this structure. Precisely because it is determined by its structure, at the level of experience the social whole remains opaque to the agents. In class-divided societies this opacity is over-determined by class exploitation and by the forms which this exploitation takes in order to be able to function in the social whole. Hence, even if it includes elements of knowledge, ideology necessarily manifests an adequation / inadequation vis-à-vis the real.