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By David WEIR

A masterful research of the hidden roots of up to date tradition and may b learn via a person attracted to how and why our highbrow panorama has replaced particularly dramatically because the Victorian period.

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The perceived threat of social disorder is countered by culture all right, but culture itself is no longer the universalizing force outside of history the man of culture believes it to be.  Significantly, the anarchy Arnold cautions against is not lawless; in fact, he is careful to distinguish the type of insidious, gradual anarchy he has in mind from the more overt brands of lawlessness, such as, say, Fenianism.  But what is culture?  The culture that Arnold endorses in Culture and Anarchy has acquired an enormous totalizing power to examine radically dissimilar social alternatives by allowing consciousness to "play freely" over them and to look for ways of integrating their contradictory claims.

Justice, for Proudhon, is a principle of balance fundamental to the idea of the contract, for contracts must be kept if they are to be effective; that is, the parties to the contract must do what they have agreed to do to maintain the balance or justice of the agreement.  This passage makes the point that the kind of anarchism Proudhon had in mind has much in common with socialism, albeit a socialism without the kind of top­down state apparatus advocated by Marx.  Later, we shall have to consider the impact of such collectivism on culture.

He is perhaps himself a poet" (394).  While there is an abundance of romantic thought in Godwin's treatise, the aesthetic sensibility and artistic tastes that ac­ Page 37 company it are clearly separate from and subordinate to Enlightenment ideology.  Aesthetics, and above aesthetics, Morality, these are the keystones of the economic edifice.  As James Rubin explains, "Since Proudhon saw the highest form of social evolution as that which would take its inherent structure from man's natural inclinations (and hence must be based on the rational observation of them), it could be concluded that a society in which all workers had become artists would eventually replace political forms of organization" (Rubin, Realism, 51).

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