{'fraction_non_alphanumeric': 0.02269503546099291, 'fraction_numerical': 0.005673758865248227, 'mean_word_length': 4.932773109243698, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Marxism and Modernism: An Historical Study of Lukács, Brecht, Benjamin and Adorno

There is no serious work of which I am aware that does not consider the artistic and literary doctrine of “socialist realism” an intellectual disaster. When Zhdanov announced this doctrine as official Soviet policy at the First Congress of Soviet Writers in 1934, his words put an end to a variety of artistic experiments which had taken place within the context of the Russian and European Left during the previous two decades. Suddenly socialist realism, or Zhdanovism, became the only “correct” Marxist approach to the question of what art in general, and literature in particular, should say, and how it should say it.