From Raymond Williams, Marxism & Literature, "Aesthetic and Other Situations:"
"But it is really much simpler to face the facts of the range of intentions and effects, and to face it as a range. All writing carries references, meanings, and values. To suppress or displace them is in the end impossible. But to say 'all writing carries' is only a way of saying that language and form are constitutive processes of reference, meaning, and value, and that these are not necessarily identical with, or exhausted by, the kinds of reference, meaning, and value that correspond or can be grouped with generalized references, meanings and values that are also evident, in other senses and in summary, elsewhere. This recognition is lost if it is specialized to 'beauty', though to suppress or displace the real experience to which the abstraction points is also in the end impossible. The true effects of many kinds of writing are indeed quite physical: specific alterations of physical rhythms, physical organization: experiences of quickening and slowing, of expansion and intensification. It was to these experiences, more varied and more intricate than any general naming can indicate, that the categorization of 'the aesthetic' appeared to speak, and that the reduction to 'ideology' tried and failed to deny or make incidental. Yet the categorization was complicit with a deliberately dividing society, and could then not admit what is also evident: the dulling, the lulling, the chiming, the overbearing, which are also, in real terms, 'aesthetic' experiences: aesthetic effects but also aesthetic intentions" (156).