Marxist criticism is a type of criticism in which literary works are viewed as the product of work and whose practitioners emphasize the role of class and ideology as they reflect, propagate, and even challenge the prevailing social order. Rather than viewing texts as repositories for hidden meanings, Marxist critics view texts as material products to be understood in broadly historical terms. In short, literary works are viewed as a product of work (and hence of the realm of production and consumption we call economics).
Marxism began with Karl Marx, the nineteenth-century German philosopher best known for Das Kapital (1867; Capital), the seminal work of the communist movement. Marx was also the first Marxist literary critic, writing critical essays in the 1830s on such writers as Johann Wolfgang von Goethe and William Shakespeare. Even after Marx met Friedrich Engels in 1843 and began collaborating on overtly political works such as The German Ideology (1846) and The Communist Manifesto (1848), he maintained a keen interest in literature. In The German Ideology, Marx and Engels discuss the relationship between the arts, politics, and basic economic reality in terms of a general social theory. Economics, they argue, provides the base, or infrastructure, of society, from which a superstructure consisting of law, politics, philosophy, religion, and art emerges.
The revolution anticipated by Marx and Engels did not occur in their century, let alone in their lifetime. When it did occur, in 1917, it did so in a place unimagined by either theorist: Russia, a country long ruled by despotic czars but also enlightened by the works of powerful novelists and playwrights including Anton Chekhov, Alexander Pushkin, Leo Tolstoy, and Fyodor Dostoyevsky. Russia produced revolutionaries like Vladimir Lenin, who shared not only Marx's interest in literature but also his belief in its ultimate importance. Leon Trotsky, Lenin's comrade in revolution, took a strong interest in literary matters as well, publishing Literature and Revolution (1924), which is still viewed as a classic of Marxist literary criticism.
Of those critics active in the Soviet Union after the expulsion of Trotsky and the triumph of Stalin, two stand out: Mikhail Bakhtin and Georg Lukács. Bakhtin viewed language—especially literary texts—in terms of discourses and dialogues. A novel written in a society in flux, for instance, might include an official, legitimate discourse, as well as one infiltrated by challenging comments. Lukács, a Hungarian who converted to Marxism in 1919, appreciated pre revolutionary realistic novels that broadly reflected cultural "totalities" and were populated with characters representing human "types" of the author's place and time.
Perhaps because Lukács was the best of the Soviet communists writing Marxist criticism in the 1930s and 1940s, non-Soviet Marxists tended to develop their ideas by publicly opposing his. In Germany, dramatist and critic Bertolt Brecht criticized Lukács for his attempt to enshrine realism at the expense not only of the other "isms" but also of poetry and drama, which Lukács had largely ignored. Walter Benjamin praised new art forms ushered in by the age of mechanical reproduction, and Theodor Adorno attacked Lukács for his dogmatic rejection of nonrealist modern literature and for his elevation of content over form.
In addition to opposing Lukács and his overly constrictive canon, non-Soviet Marxists took advantage of insights generated by non-Marxist critical theories being developed in post—World War II Europe. Lucien Goldmann, a Romanian critic living in Paris, combined structuralist principles with Marx’s base superstructure model in order to show how economics determines the mental structures of social groups, which are reflected in literary texts. Goldmann rejected the idea of individual human genius, choosing instead to see works as the "collective" products of "trans-individual" mental structures. French Marxist Louis Althusser drew on the ideas of psychoanalytic theorist Jacques Lacan and the Italian communist Antonio Gramsci, who discussed the relationship between ideology and hegemony, the pervasive system of assumptions and values that shapes the perception of reality for people in a given culture. Althusser’s followers included Pierre Macherey, who in A Theory of Literary Production (1966) developed Althusser’s concept of the relationship between literature and ideology; Terry Eagleton, who proposes an elaborate theory about how history enters texts, which in turn may alter history; and Frederic Jameson, who has argued that form is "but the working out" of content "in the realm of the superstructure."

Adapted from The Bedford Glossary of Critical and Literary Terms by Ross Murfin and Supriya M. Ray. Copyright 1998 by Bedford Books.