Criticism
Marxist geography's emphasis on constraints of structure upon human agency has been criticized extensively as deterministic, as not allowing for human agency and autonomy; human action appears determined by capitalism's structural mechanisms in Marxist analysis. By contrast, humanistic geography is a differing critical geography that concentrates on human will and autonomy in explaining geographical patterns. Unsurprisingly, much of the criticism directed at Marxists has emerged from the humanistic fold (although humanistic geography is itself seen as lacking for failing to account for behavioural constraints imposed by social structures).
Marxist geography is also subject to critiques of historical materialism and its applicability to modern-day post-industrial and capitalist societies. The importance placed by Marxists on the notion of class is also subject to critique. Marxist geographers have responded in kind to these polemics.
Read more about this topic: Marxist Geography
Famous quotes containing the word criticism:
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)
“However intense my experience, I am conscious of the presence and criticism of a part of me, which, as it were, is not a part of me, but a spectator, sharing no experience, but taking note of it, and that is no more I than it is you. When the play, it may be the tragedy, of life is over, the spectator goes his way. It was a kind of fiction, a work of the imagination only, so far as he was concerned.”
—Henry David Thoreau (1817–1862)
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
—Octavio Paz (b. 1914)