File Name: marxism and literary criticism terry eagleton .zip
Its objective is to assist in the supersession of these particularisms and the re-composition of their problem-areas into a conceptually unified domain under the command of historical materialism. Criticism and Ideology is also and very evidently a transitional work, not only by virtue of the place that it will come to occupy in a lengthening sequence of books, but also, as Eagleton himself observes, because of the modifications and developments of argument that occur within it, in a compositional series whose order is not that of the published volume.
The remarks that follow are made on this understanding; what they represent is not a critique—as of a consolidated intellectual position, in the name of a stable alternative—or even a comprehensive review of the standard kind, but a series of notes, neither complete nor conclusive, written in counterpoint to some key themes invoked in or arising from the book.
Criticism and Ideology is the first major study in Marxist literary theory to be written in England in forty years—that is an important part of its distinction. It is also, Eagleton would add, the cause of its embarrassment. It is to feel acutely bereft of a tradition, as a tolerated house-guest of Europe, a precocious but parasitic alien. The political and cultural ramifications of that distinction are thoroughly familiar now, after more than a decade of steadily widening acceptance among British Marxists.
And its salutary effects are obvious: there now exists an identifiable Marxist current in British culture, still small and vulnerable, but nonetheless versatile and productive, and perhaps more internationalist in cultural outlook than its longer-established counterparts in France, Germany and Italy, from which it has learned so much.
But it needs to be asked whether the foundations of the distinction were entirely sound, and whether, in the changed politico-cultural conditions of the late Seventies, its weaknesses may not now be of greater importance than its strengths.
An issue so large and complex, theoretically and in terms of substantive historical analysis, cannot be discussed in the present context. One concrete indication of its contours, taken from Criticism and Ideology , will have to suffice for the present. His work bears all the scars of that enterprise: speculative and erratic, studded with random insights, punctuated by hectic forays into and out of alien territories and strewn with hair-raising theoretical vulgarities.
If Caudwell lacked a tradition of Marxist aesthetics, it is a measure of that absence that we, coming after him, lack one too. A more important consideration, however, is that this portrait of a supposedly Anglo-Marxist predicament seems recognizable from another, much wider context.
On the contrary, if we look more closely at his work, we find that, with all due allowance made for the particular national and intellectual-biographical circumstances of its author, its basic structure—an almost total neglect of political and economic theory in favour of aesthetic, philosophical and other cultural questions, a marked dependence on a coeval national idealism neo-utilitarian aesthetics and on psychoanalysis, and all this in the context of marginal, almost self-effacing participation in the Communist Party—is more or less homologous with that of much Western Marxist production in his own time.
It is, rather, the politically crucial question of historical understanding. The period between the Depression and the Korean war saw virtually a whole generation of British intellectuals won and then lost to Marxism and the politics of the Left. As such, it is of central importance, both for what it might tell us of political choices which are in many respects before us still, and for its symbolic role in the ideological contests of today.
Yet British Marxists have scarcely begun to investigate it. Few now could quarrel with this evaluation, or wish it rescinded; but it has too often induced an amnesia that is entirely negative and disabling.
Against these, British Marxists have little to offer except memories and disclaimers. This intellectual and political failing has never been creditable; today, as the Left faces a widening anti-Marxist cultural mobilization, its consequences are more than we can afford.
The particular terrain in which Eagleton situates himself is, of course, that of literary criticism, and here too his first concern is to plot its most significant contours. Literary criticism as it has traditionally been conceived and practised in modern England is essentially a maieutic discipline. What criticism seeks to produce, if anything, is the conditions of its own disappearance. Email required. Password required. Subscribe for instant access to all articles since Shouldn't I have access to this article via my library?
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The fundamental Marxist postulate is that the economic base of a society determines the nature and structure of the ideology, institutions and practices such as literature that form the superstructure of that society. Marxist Theory Marxist theory—which is drawn from the economic, social, and political theories of the late 19th century economist Karl Marx—is among the most popular, influential, and controversial theories of literature currently practiced throughout the Western academic world. This text is designed to give both students and lecturers a sense of the historical formation of a marxist literary tradition. It originally consisted of three related ideas: a philosophical anthropology, a theory of history, and an economic and political program. There is also Marxism as it has been understood and practiced by the various socialist movements, particularly before The true subject of Kafka's writing is the diabolical world of modern capitalism and man's impotence in the face of it.
Is Marx relevant any more? Why should we care what he wrote? What difference could it make to our reading of literature? Terry Eagleton, one of the foremost.
In literary theory, a Marxist interpretation reads the text as an expression of contemporary class struggle. Literature is not simply a matter of personal expression or taste. It somehow relates to the social and political conditions of the time.
Marxist literary criticism is becoming increasingly important in Europe as a whole, and interest in the subject is rapidly growing in this country. In this book, Dr. Eagleton analyses the major issues that the subject presents, discussing the writing of Marx and Engels themselves and the work of such critics as Plekhanov, Trotsky, Lenin, Lukacs, Goldmann, Caudwell, Benjamin and Brecht. They are seen from four viewpoints central to Marxist thought: the relation of literature to history, the problem of 'form' and 'content' in literature, the question of literature and political commitment, and the importance of production and technology in art.
E agleton , T erry. London: Verso, This reissue of Eagleton's study includes a new introduction by the author in which he reaffirms his commitment to the politics of the book, but also doubts its claims that all human ills must be redressed in the political sphere. Eagleton also relates his cultural Catholicism to Althusser's, making the strange assertion that Althusser's Catholicism brought him into conflict with orthodox French culture p.
В тот момент, когда он поравнялся с сиденьем, на котором сидела девушка, и подумал, что именно ей скажет, автобус проехал под уличным фонарем, на мгновение осветившим лицо обладателя трехцветной шевелюры. Беккер смотрел на него, охваченный ужасом. Под густым слоем краски он увидел не гладкие девичьи щеки, а густую щетину.
Беккер растерялся. Очевидно, он ошибался.
Да, сэр. Фонтейн понимал, что сейчас не время для объяснении. Он бросил взгляд на истончающиеся защитные щиты.
И что же из этого следует. - Из этого следует, - Джабба шумно вздохнул, - что Стратмор такой же псих, как и все его сотруднички. Однако я уверяю тебя, что ТРАНСТЕКСТ он любит куда больше своей дражайшей супруги. Если бы возникла проблема, он тут же позвонил бы. Мидж долго молчала.
- Он открыл жалюзи. - Все еще темно? - спросила Мидж. Но Бринкерхофф не ответил, лишившись дара речи. То, что он увидел, невозможно было себе представить.
Почему. Сьюзан охватила паника.
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Marx, Engels and criticism. 1. Base and superstructure. 3. Literature and superstructure. 8. Literature and ideology. 2 Form and content. History and form.