Two recent works of literary theory sketch a robust structural account of the literary world system centred on London and Paris. But one might ask if this system can be better historicised and whether there are ways to conceive of its operational logics less rigidly.

There is a good deal of evidence to suggest that rock music was foundationally both socially liberal and economically neoliberal from the mid-70s onwards. The social liberalism may have been most evident in the music, the neoliberalism in the media infrastructures that carried it.