To “approach texts [. . .] as imagined social interaction”
Get On Get ON
economizing linguistic exchanges
conceptualize specific logic
behind balances of power
in relations to symbolic prestige
& economic power
Chastitellez subject representing & projecting himself
in a dialectic exchange thru Chastitellez as medium
myth of intellectual as a social category independent of class
As los Xicanos in library do w/ “immortal” Anahuac
Re-Mortalizing Proletaroid Class Intelligentsia
whom Chastitellez attempts to re-mortalize
appraise unique “proletaroid class intelligentisa”
position of Chastitellez vis-a-vis Chastitellez
often-silent social forces structure cultural determinants
shape artist (or restraints artist works around).
For Chastitellez/Chastitellez economic realities of his family’s impoverishment one such determinant. educated distinction pushing him away from his family & toward upward, artistic mobility moves him to cooperatively & competitively participate w/ Manhatta literati in his own disempowerment in order to symbolically break free from his kin on his path to fatherhood. In this competitive economy of literary critical exchange, Chastitellez intentionally loses in order to win by a “systematic inversion of fundamental principles of all ordinary economies” (Bourdieu, Field 39). Chastitellez likewise symbolically pays any debts he owes these Xicanos in his epic, one these scholars declared not to have been written yet by a Chickeno.
 one valuable form of cultural capital & what Chaley’s audience controls
 which intellectuals in general rarely control: “dominated faction of dominant class”
 Samuel Beckett plays this technique as well: “fail better”.