Leaving questions of detail aside, it is obvious that each of the various cultural structures, such as religion, philosophy, science, and art, has its own proper “distance” from its social origin; they form a series with many steps, manifesting progressive “ideological saturation.” This series reaches from mathematics, which is almost neutral from the sociological point of view, its particular propositions scarcely allowing one to draw any conclusions as to their date, place, or circumstances of origin, to art, in which hardly a single feature could be considered indifferent from the historical and social point of view. In this series, art stands in the very closest connection with social reality and farthest from the region of what are commonly regarded as timelessly valid ideas. At least it is directed in a far more unreserved and straightforward way to social aims, serves far more manifestly and unmistakably as ideological weapon, as panegyric or propaganda, than objective sciences. That the social tendencies art serves can scarcely ever be seen unconcealed and unsublimated — that is of the essence of the ideological mode of expression, which, if it is to achieve its aims, cannot afford to call a child by its proper name. ...
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