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Criticism and Ideology: A Study in Marxist Literary Theory, by Terry Eagleton
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Terry Eagleton is one of the most important—and most radical—theorists writing today. His witty and acerbic attacks on contemporary culture and society are read and enjoyed by many, and his studies of literature are regarded as classics of contemporary criticism.
Ranging across the key works of Raymond Williams, Lenin, Trostsky, Brecht, Adorno, Benjamin, Lukacs and Sartre, he develops a nuanced critique of traditional literary criticism while producing a compelling theoretical account of ideology.
Eagleton uses this perspective to offer fascinating analyses of canonical writers, including George Eliot, Charles Dickens, Joseph Conrad, Henry James, T.S. Eliot, W.B. Yeats, James Joyce and D.H. Lawrence.
- Sales Rank: #4729808 in Books
- Brand: Brand: Verso
- Published on: 1985-06-17
- Released on: 1985-06-17
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 5.50" w x .75" l,
- Binding: Paperback
- 192 pages
- Used Book in Good Condition
Review
“The author’s most remarkable volume.”—Choice
“Eagleton is second to none among cultural critics writing in the English language today.”—The Guardian
“Eagleton is a combative, fiercely articulate and witty Marxist literary critic.”—The Nation
“Eagleton is informative, witty and wise.”—Times Higher Education Supplement
“Genuinely illuminating.”—Time Out
About the Author
Terry Eagleton is Professor of Cultural Theory and John Rylands Fellow, University of Manchester. His other books include Ideology; The Function of Criticism; Heathcliff and the Great Hunger; Against the Grain; Walter Benjamin; and Criticism and Ideology, all from Verso.
Most helpful customer reviews
5 of 7 people found the following review helpful.
Didn't blow my mind; but that's Ok, 'cause I still love Eagleton...
By Spunk Monkey
I came to this book after having the circuitry of my brain rearranged by Fredric Jameson's mind altering expositions of dialectial criticism in both "Marxism and Form" and "The Political Unconscious." I was hoping that Terry Eagleton's text would be a schrewd and scalpel precise break down of a Marxist literary theoretical model of ideological critique, and a worthy companion piece to the Jameson texts. Sadly, I finished this book pretty disappointed.
Here's the deal -- this was written in '76 and Eagleton's normally sparkling prose is as dry as a hundred year-old turd. Not only that the critical model he explicates is light on the dialectic. He also mentions Freud only in passing, when later models take Freud way more into account. And his conception of how the text is an ideologial symptom of larger contradictions and the imagined solution to those problems is not compelingly described. I think in general the text suffers from being a pre-Political Unconscious text.
By his own admission, in the new introduction, this work is filled wth "tortuous formulations," and it felt torturous reading chapters 2 and 3 which is where the theory lies. Not much of it made any impression. Jameson wrote in "Marxism and Form" that dialectical criticism should make you feel the elevator just dropped out from beneith our feet feet; this book just made me dispeptic. Chapter 1 spent the great deal of time talking about the history of criticism in England, as well as why Raymond Williams is certainly not the guy, which was sort of interesting, all that William's stuff, but wasn't really what I was looking for. Then Chapter 4 talked about the ideological (re)orientations of a gaggle full of British writers from the Victorian and Modern period, which had its moments certainly, but it wasn't very exciting either. The final chapter talked about "value" since this was an important issue back in the 70s. After Jameson's valorization of Ernst Bloch's unveiling of the Utopian content of all narrative, this chapter has become moot.
[...] I typically find his work very enlightening, readable, and sharp -- just not this one, is all. It's smart but dull and not very juicy compared to more Lacanian inspired stuff. Eagleton in his intro states that this book was "of its time," in that it settled scores and dealt with issues that were important back in the mid seventies. That being said, it has more historical interest now than anything else.
Postscript --
I reread my review the next day and I felt that perhaps I was too dismissive of this text. It is what it is, which is a theoretical text predating the post-modernist and post-structuralist assaults on Marxism; and, therefore, it is not answering some of the question which come later. This text would be superb had Eagelton added a few chapters to update it, as he has done with his "Literary Theory" text. Nevertheless, some of the writing in here is superb. Chapter 4 has some terrific disections of the ideological underpinnings of Charles Dickens and D. H. Lawrence. There is also an interesting examination of the contradictions existing for these writers regarding the revolutionary "form" of the texts, and the sometimes reactionary "content" of their work. Overall Eagleton proposes that the drive towards anti-organicist works, ones which breakdown nice clean totality, are radical, though the content often comes to subvert the progressive form taken by these authors. After the post-modern and post-structuralist debates which have occured in the following decades, however, we have come to see that the break with realism and organic totality can certainly be highly reactionary as well, such as in extreme post-modernism which does not allow for any totalities particularly Marxist ones. The Marxist critique of "form and content" is more nuanced and worked through in Jameson's texts (as are notions of value, Utopia, ideology, and the connection between form and historical time periods). I rather liked some of the analysis of the writers in chapter 4, but Eagleton develops some of these same ideas about these same writers in a richer way in his later work "The Historical Novel," which is highly recommended. In all, I think I could get more out of the work than I did upon a second reading; however, for the time being this will be unlikely for, as Eagleton himself stated in his new preface, "Within a remarkably short time, then, the political and theoretical landscape from which Criticism and Iedology emerged altered almost beyond recognition."
5 of 7 people found the following review helpful.
Excellent Intro to Marxist Theory
By A Customer
Eagleton gives a challenging, insightful, and readable presentation of Marxist literary theory. *Criticism and Ideology* is certainly a must-read for anyone even remotely interested in this school of thought.
1 of 2 people found the following review helpful.
Youthful Indiscretion
By not a natural
Terry Eagleton is one of my favorite authors of the exposition of ideas and theoretical developments in social and cultural theory from the point of view of a student of the humanities. I've read more of Eagleton's books than those by any other author of comparable material, and I've always found him insightful, informative, and challenging but accessible.
Eagleton's prose style is uniquely sophisticated, neither trendy nor distorted by the constraints of a particular persepective, and he's written knowledgeably about every influential social and cultural theory that comes to mind. Whether writing about modernism, post-modernism, psychoanalysis, structuralism, post-structuralism, the close reading of the Leavasites, or any other distinctive body of literature, Eagleton's style has remained largely unaltered, avoiding surrender to locutions, affectations, and fantastically elaborate conceptual frameworks that may be peculiar to the body of work he's discussing. Eagleton understands that writing about Marx doesn't oblige him to adopt Marx's often turgidly Hegelian prose style, and the same applies to the distinctive modes of written expression peculiar to other authors. This is all to the good.
It seems, however, that all of us, whatever our lines of endeavor, are subject to youthful indiscretions, especially when we get caught up in the most fashionable and ostensibly powerful manifestations of our work at a particular time. I suppose this is as good an explanation as any for Eagleton's 1976 book Criticism and Ideology, better, I think, than the account offered by Eagleton himself in this edition. In this early volume Eagleton adopts the concepts, approach to theory, set of pertinent issues, and mode of presentation of Louis Althusser and his Structural Marxist acolytes, and he endeavors to make them his theoretical foundation. Sadly, a really bad call!
In truth, Structural Marxism was an influential project that was not totally without value. Its unapologetic denial of simple-minded notions of free will, while retaining the illusory reality of individual freedom, was exemplary. Much the same is true of the notion that material experience precedes and takes precedence over consciousness, and that individuals may be construed as unself-conscious props that maintain the multifaceted social structures that create them.
While Althusser pushed the ideas of relative autonomy and determinant in the last instance too far, he disabused us of over-simplifying the still instructive base/superstructure configuration. Commonsense instrumentalism, moreover, was eliminated once and for all by Althusser's Structural Marxism, and he invoked the concept production in a way that lent itself to application to literary studies.
Nevertheless, I can't see much in what I've just attributed to Althusser that was not explicitly stated, or at least clearly implicit, in Marx's own work. In addition, to glean even this much from Althusser forces the reader to try to come to terms with a maddeningly unreadable convoluted exercise in literary self-indulgence masquerading as theoretical rigor. Anyone who has Read Althusser's best known book, Reading Capital, will immediately understand my point.
Althusser's strained efforts to write theory with meticulous precision rendered his prose, for all practical purposes, unreadable. Much as with Althusser's work, a good deal of Eagleton's Criticism and Ideology is needlessly difficult and pointlessly obscure. While Criticism and Ideology is not without merit, too much of it is an extraordinarily tedious exercise in conceptually excessive sleight-of-hand that, when all is said and done, presents us mainly with a rigid framework of static ideas whose interrelationships are as numerous and slippery as they are hopelessly obscure. Is Literary Mode of Production (LMP) a useful concept? You tell me. After a while, I get sick of being told "you may think , but I really mean ," with qualifications, of course.
Remarkably, however, the first thirty pages of Eagleton's third chapter approach intelligibility, and may have some genuinely interesting things to say. It's as if Eagleton had tamed Structural Marxism and made it work. The discussion explaining the simple causal models at the bottom of page 68 is especially interesting.
Abruptly, however, the material that showed promise and prompted me to briefly second-guess my thoroughly unfavorable assessment of Structual Marxism as a monstrously clumsy joke, a parody of needlessly dense and proudly inelegant theoretical work, gave way to the same old Althusserianism.
There's more to Criticism and Ideology than Eagleton's uncharacteristic surrender to Structural Marxism, but the cryptically annoying Althusserianism seems to have spoiled it for me, and I'm afraid I failed to do it justice. However, elsewhere Eagleton has written so much that is so good that it's easy to forgive him the sins of Criticism and Ideology. After all, any of us can get caught up in a fashionable mode of discourse and theorizing, especially when we've struggled mightily to use it in the way of its master, and find that, whether or not we're making sense, we get favorable responses from others who have taken the same route. I had a very similar experience using Harold Garfinkel's ethnomethodology in the '70's and early '80's.
In any case, I don't know why Criticism and Ideology is back in print, perhaps for historical interest. I suspect that Eagleton would just as soon forget that he wrote it. I spent more time than I like to admit with this relatively short book and found it to be a source of enormous frustration, with little of intelligibility or interest to say about either criticism or ideology. Eagleton's references to Raymond Williams seem oddly out of synch with -- even unrelated to -- my reading of Willaims' Marxism and Literature. Perhaps this is because I spent too much time trying to decipher Eagleton's Althusserianism, neglecting less contaminated parts of the book. Irritation and understanding don't go hand in hand.
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