Terry Eagleton looks back across sixty years to an extraordinary critical milieu that transformed the study of literature   Before the First World War, traditional literary scholarship was isolated from society at large. In the years following, a younger generation of critics came to the fore. Their work represented a reaction to the impoverishment of language in a commercial, utilitarian society increasingly under the sway of film, advertising, and the popular press. For them, literary criticism was a way of diagnosing social ills and had a vital moral function to perform.   Terry Eagleton reflects on the lives and work of T. S. Eliot, I. A. Richards, William Empson, F. R. Leavis, and Raymond Williams, and explores a vital tradition of literary criticism that today is in danger of being neglected. These five critics rank among the most original and influential of modern times and represent one of the most remarkable intellectual formations in twentieth-century Britain. This was the heyday of literary modernism, a period of change and experimentation—the bravura of which spurred on developments in critical theory.

In his latest book, Terry Eagleton, one of the most celebrated intellects of our time, considers the least regarded of the virtues. His compelling meditation on hope begins with a firm rejection of the role of optimism in life's course. Like its close relative, pessimism, it is more a system of rationalization than a reliable lens on reality, reflecting the cast of one's temperament in place of true discernment. Eagleton turns then to hope, probing the meaning of this familiar but elusive word: Is it an emotion? How does it differ from desire? Does it fetishize the future? Finally, Eagleton broaches a new concept of tragic hope, in which this old virtue represents a strength that remains even after devastating loss has been confronted. In a wide-ranging discussion that encompasses Shakespeare's Lear, Kierkegaard on despair, Aquinas, Wittgenstein, St. Augustine, Kant, Walter Benjamin's theory of history, and a long consideration of the prominent philosopher of hope, Ernst Bloch, Eagleton displays his masterful and highly creative fluency in literature, philosophy, theology, and political theory. Hope without Optimism is full of the customary wit and lucidity of this writer whose reputation rests not only on his pathbreaking ideas but on his ability to engage the reader in the urgent issues of life. Page-Barbour Lectures

`...a valuable book for anyone wanting to move beyond critical pieties to an understanding of the relation between the Brontes' work and their society. Dr Eagleton asks questions which ought be asked.' Juliet Dusinberre, Notes and Queries `...this is a book of real stature, of cogent and steely argument and analysis....' Adrian Poole, Cambridge Review. This widely acclaimed Marxist study of the Brontes is now available in paperback. In this second edition a new introduction has been added.

In a virtuoso display of erudition, thoughtfulness and humour, Terry Eagleton teases apart the concept of hope as it has been (often mistakenly) conceptualised over six millennia, from ancient Greece to today. He distinguishes hope from simple optimism, cheeriness, desire, idealism or adherence to the doctrine of Progress, bringing into focus a standpoint that requires reflection and commitment, arises from clear-sighted rationality, can be cultivated by practice and self-discipline, and which acknowledges but refuses to capitulate to the realities of failure and defeat. Authentic hope is indubitably tragic, yet Eagleton also argues for its radical implications as 'a species of permanent revolution, whose enemy is as much political complacency as metaphysical despair'. It is a means of facing the future without devaluing the moment or obviating the past. Traversing centuries of thought about the many modes of hoping - from Ernst Bloch's monumental work through the Stoics, Aquinas, Marx and Kierkegaard, among others - this penetrating book throws new light on religious faith and political ideology as well as issues such as the problem of evil, the role of language and the meaning of the past. Hope Without Optimism is a brilliantly engaged, impassioned chronicle of human belief and desire in an increasingly uncertain world.

Beckett's reception was characterised in its early stages by a sustained attention to nothing as a philosophical concept. Theodor Adorno, however, was quick to argue that Beckett's plays resisted - unlike Sartre's - having their nothing transformed into something. This Beckettian nothing, moreover, is often invested with the aura of the genius, either for eulogical or dismissive purposes. This volume invites its readership to understand the complex ways in which the Beckett canon both suggests and resists turning nothing into something by looking at specific, sometimes almost invisible ways in which 'little nothings' pervade the Beckett canon. The volume has two main functions: on the one hand, it looks at 'nothing' not only as a content but also a set of rhetorical strategies to reconsider afresh classic Beckett problems such as Irishness, silence, value, marginality, politics and the relationships between modernism and postmodernism and absence and presence. On the other, it focuses on 'nothing' in order to assess how the Beckett oeuvre can help us rethink contemporary preoccupations with materialism, neurology, sculpture, music and television. Both advanced students and scholars of Beckett will find the volume of interest. It comprises jargon-free chapters that analyse Beckett's prose, drama, film, television, manuscripts and marginalia. It will prove of interest to advanced students and scholars in English, French, Comparative Literature, Drama, Visual Studies, Philosophy, Music, Cinema and TV studies. -- .

This collection of readings on the concept of ideology is brought together by the Marxist critic, Terry Eagleton. His introduction traces the historical evolution of ideology and examines in a more theoretical style the various meanings of the word and their significance. The readings begin with the first English translations of some of the writing of the French founder of the concept in the eighteenth century. They then move from the enlightenment to Hegel and Marxism, with particular emphasis on Marx and Engels themselves. They also look at other eighteenth-century traditions of thought such as Nietzche and Freud. All the readings are theoretical rather than examples of `ideology at work' and will be of interest to undergraduate students of cultural, political and historical studies concerned with ideology, as well as students of English literature.

Beckett and nothing invites its readership to understand the complex ways in which the Beckett canon both suggests and resists turning nothing into something by looking at specific, sometimes almost invisible ways in which 'little nothings' pervade the Beckett canon. The volume has two main functions: on the one hand, it looks at 'nothing' not only as a content but also a set of rhetorical strategies to reconsider afresh classic Beckett problems such as Irishness, silence, value, marginality, politics and the relationships between modernism and postmodernism and absence and presence. On the other, it focuses on 'nothing' in order to assess how the Beckett oeuvre can help us rethink contemporary preoccupations with materialism, neurology, sculpture, music and television. The volume is a scholarly intervention in the fields of Beckett studies which offers its chapters as case studies to use in the classroom. It will prove of interest to advanced students and scholars in English, French, Comparative Literature, Drama, Visual Studies, Philosophy, Music, Cinema and TV studies. -- .

The capacity for reasonable argument about practical and political matters is important to our daily lives. Yet what does arguing really involve? Often, our very concept of what it is to argue seems systematically distorted. Practical, political arguing is too often stylized as hyper-cognitive, ending by treating people as objects rather than other selves - in ways that are fundamentally unreasonable. This book examines what follows from seeing people as deliberating and acting in ways that intertwine a variety of emotional and evaluative processes and effects of virtue or character. From this point of view, practical arguing involves not just cognition, emotion, and virtue, but also practices, including imaginative practices. Politics of Practical Reasoning: Integrating Action, Discourse and Argument uses these ideas to interrogate ways in which reasoning is bound up with the interrelated lives that human beings lead in their everyday, public and political worlds. We build here on efforts to re-concretize practical reasoning in modern traditions linked to phenomenology and Wittgensteinian thought, also referring back to Aristotle and the Stoics in classical times. Medieval theologians and philosophers such as Aquinas confront the same issue, as do Enlightenment thinkers such as Smith and Kant. Using the history of philosophical thought as one of our major sources, the contributors sympathize with the link underscored between interpretation, tradition and reasoning by Gadamer, the stress placed on communicative and emancipatory action by Habermas, and MacIntyre's notion of praxis as highlighting deliberation within communities. All these approaches respond to practical reasoning as practical. Building on these points of view, the volume both explores what practical reasoning itself means, and applies it to particular questions: what it means to respond to arguments about meaningful work or disability, or how to debate institutional ethics or art. None of these debates is susceptible to exclusively cognitive or technical solutions; this does not mean abandoning them to unreason. Practical and political reasoning is examined here from an appropriately broad spectrum of approaches, founded in a concern for what human reasoning can justifiably be expected to involve, and what justifying it can reasonably be expected to achieve.

A compelling guide to the fundamental place of humour and comedy within Western culture-by one of its greatest exponents Written by an acknowledged master of comedy, this study reflects on the nature of humour and the functions it serves. Why do we laugh? What are we to make of the sheer variety of laughter, from braying and cackling to sniggering and chortling? Is humour subversive, or can it defuse dissent? Can we define wit? Packed with illuminating ideas and a good many excellent jokes, the book critically examines various well-known theories of humour, including the idea that it springs from incongruity and the view that it reflects a mildly sadistic form of superiority to others. Drawing on a wide range of literary and philosophical sources, Terry Eagleton moves from Aristotle and Aquinas to Hobbes, Freud, and Bakhtin, looking in particular at the psychoanalytical mechanisms underlying humour and its social and political evolution over the centuries.

A literary master's entertaining guide to reading with deeper insight, better understanding, and greater pleasure

'Part of the fun of the book is the way in which Eagleton prompts, provokes and at times infuriates. . . . An ideal introductory guide to critical analysis, and a thoroughly enjoyable reminder of Eagleton's own skill and subtlety as a reader.'-Felicity James, Times Higher Education Supplement

'This book is seriously good fun. . . . It fizzles and explodes with ideas. You don't have to be either teacher or beginner to relish it: Eagleton is so full of enthusiasm that you just need to be able to read.'-Sue Gaisford, The Tablet

A new account of tragedy and its fundamental position in Western culture In this compelling account, eminent literary critic Terry Eagleton explores the nuances of tragedy in Western culture-from literature and politics to philosophy and theater. Eagleton covers a vast array of thinkers and practitioners, including Nietzsche, Walter Benjamin, and Slavoj Zizek, as well as key figures in theater, from Sophocles and Aeschylus to Shakespeare and Ibsen. Eagleton examines the political nature of tragedy, looking closely at its connection with periods of historical transition. The dramatic form originated not as a meditation on the human condition, but at moments of political engagement, when civilizations struggled with the conflicts that beset them. Tragedy, Eagleton demonstrates, is fundamental to human experience and culture.

One of the foremost Marxist critics of his generation forcefully argues against Marx's irrelevancy "[Eagleton is] a witty, insightful thinker with a penchant for glib asides and wry dashes of humor. It's probably the only book that makes references to Tiger Woods and Mel Gibson along with Charles Fourier and Michel Foucault."-Michael Patrick Brady, PopMatters "Reading a book by Terry Eagleton is like watching fireworks."-Dennis O'Brien, Christian Century In this combative, controversial book, Terry Eagleton takes issue with the prejudice that Marxism is dead and done with. Taking ten of the most common objections to Marxism-that it leads to political tyranny, that it reduces everything to the economic, that it is a form of historical determinism, and so on-he demonstrates in each case what a woeful travesty of Marx's own thought these assumptions are. In a world in which capitalism has been shaken to its roots by some major crises, Why Marx Was Right is as urgent and timely as it is brave and candid. Written with Eagleton's familiar wit, humor, and clarity, it will attract an audience far beyond the confines of academia.

Americans have long been fascinated with the oddness of the British, but the English, says literary critic Terry Eagleton, find their transatlantic neighbors just as strange. Only an alien race would admiringly refer to a colleague as aggressive, use superlatives to describe everything from one s pet dog to one s rock collection, or speak frequently of being empowered. Why, asks Eagleton, must we broadcast our children s school grades with bumper stickers announcing My Child Made the Honor Roll ? Why don t we appreciate the indispensability of the teapot? And why must we remain so irritatingly optimistic, even when all signs point to failure?

On his quirky journey through the language, geography, and national character of the United States, Eagleton proves to be at once an informal and utterly idiosyncratic guide to our peculiar race. He answers the questions his compatriots have always had but (being British) dare not ask, like why Americans willingly rise at the crack of dawn, even on Sundays, or why we publicly chastise cigarette smokers as if we re all spokespeople for the surgeon general.

In this pithy, warmhearted, and very funny book, Eagleton melds a good old-fashioned roast with genuine admiration for his neighbors across the pond. "

Ideology has never before been so much in evidence as a fact, and so little understood as a concept, as it is today. In this now classic work, originally written for both students and for those already familiar with the debates on ideology, Terry Eagleton unravels the concepts many definitions, and explores the concept's torturous history from the Enlightenment to the present. The book provides lucid accounts of the thought of key Marxist thinkers, as well as of Schopenhauer, Nietzsche, Freud and the various post-structuralists. Now updated in the light of current theoretical debates, this essential text by one of our most important contemporary critics clarifies a notoriously confused subject. Ideology is core reading for students and teachers of literature and politics.

The phrase "the meaning of life" for many seems a quaint notion fit for satirical mauling by Monty Python or Douglas Adams. But in this spirited Very Short Introduction, famed critic Terry Eagleton takes a serious if often amusing look at the question and offers his own surprising answer.
Eagleton first examines how centuries of thinkers and writers--from Marx and Schopenhauer to Shakespeare, Sartre, and Beckett--have responded to the ultimate question of meaning. He suggests, however, that it is only in modern times that the question has become problematic. But instead of tackling it head-on, many of us cope with the feelings of meaninglessness in our lives by filling them with everything from football to sex, Kabbala, Scientology, "New Age softheadedness," or fundamentalism. On the other hand, Eagleton notes, many educated people believe that life is an evolutionary accident that has no intrinsic meaning. If our lives have meaning, it is something with which we manage to invest them, not something with which they come ready made. Eagleton probes this view of meaning as a kind of private enterprise, and concludes that it fails to holds up. He argues instead that the meaning of life is not a solution to a problem, but a matter of living in a certain way. It is not metaphysical but ethical. It is not something separate from life, but what makes it worth living--that is, a certain quality, depth, abundance and intensity of life.
Here then is a brilliant discussion of the problem of meaning by a leading thinker, who writes with a light and often irreverent touch, but with a very serious end in mind.

One of our most brilliant minds offers a sweeping intellectual history that argues for the reclamation of culture's value Culture is a defining aspect of what it means to be human. Defining culture and pinpointing its role in our lives is not, however, so straightforward. Terry Eagleton, one of our foremost literary and cultural critics, is uniquely poised to take on the challenge. In this keenly analytical and acerbically funny book, he explores how culture and our conceptualizations of it have evolved over the last two centuries-from rarified sphere to humble practices, and from a bulwark against industrialism's encroaches to present-day capitalism's most profitable export. Ranging over art and literature as well as philosophy and anthropology, and major but somewhat "unfashionable" thinkers like Johann Gottfried Herder and Edmund Burke as well as T. S. Eliot, Matthew Arnold, Raymond Williams, and Oscar Wilde, Eagleton provides a cogent overview of culture set firmly in its historical and theoretical contexts, illuminating its collusion with colonialism, nationalism, the decline of religion, and the rise of and rule over the "uncultured" masses. Eagleton also examines culture today, lambasting the commodification and co-option of a force that, properly understood, is a vital means for us to cultivate and enrich our social lives, and can even provide the impetus to transform civil society.

This collection of readings on the concept of ideology is brought together by the Marxist critic, Terry Eagleton. His introduction traces the historical evolution of ideology and examines in a more theoretical style the various meanings of the word and their significance. The readings begin with the first English translations of some of the writing of the French founder of the concept in the eighteenth century. They then move from the enlightenment to Hegel and Marxism, with particular emphasis on Marx and Engels themselves. They also look at other eighteenth-century traditions of thought such as Nietzche and Freud. All the readings are theoretical rather than examples of `ideology at work' and will be of interest to undergraduate students of cultural, political and historical studies concerned with ideology, as well as students of English literature.

'Terry Eagleton is that rare bird among literary critics - a real writer.' - Colin McCabe, The Guardian

'Amazingly comprehensive for its brief format. Eagleton has been able to sum up the main areas of Marxist criticism in the West today.' - Times Literary Supplement

The three essays in this volume were originally published as individual pamphlets by the Field Day Theatre Company in Derry, Nothern Ireland. Founded in 1980 as a theatre cmpany, Field Day has eveolved as a publisher concerned with the typically Irish blend of political and cultural (mainly literary) forces which requires fresh analysis in view of the existing Irish political crisis. As a result, Field Day has published a series of pamphlets, in groups of three, to which the three essays printed here are the most recent contribution. Each of the essays deals with a different aspect of nationalism and the role of cultural production as a force in understanding the aftermath of colonization. In his essay, Terry Eagleton identifies two decolonizing stages: the achievement of national autonomy and personal autonomy. Frederic Jameson discusses the problematic relationship between the Third World and the "first world". Edward Said focuses on the poetry of Yeats and the role it played in the "liberationist" movement of decolonization.

A brilliant introduction to the philosophical concept of materialism and its relevance to contemporary science and culture

In this eye-opening, intellectually stimulating appreciation of a fascinating school of philosophy, Terry Eagleton makes a powerful argument that materialism is at the center of today's important scientific and cultural as well as philosophical debates. The author reveals entirely fresh ways of considering the values and beliefs of three very different materialists-Marx, Nietzsche, and Wittgenstein-drawing striking comparisons between their philosophies while reflecting on a wide array of topics, from ideology and history to language, ethics, and the aesthetic. Cogently demonstrating how it is our bodies and corporeal activity that make thought and consciousness possible, Eagleton's book is a valuable exposition on philosophic thought that strikes to the heart of how we think about ourselves and live in the world.

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‘Jarndyce and Jarndyce has passed into a joke. That is the only good that has ever come of it’

As the interminable case of Jarndyce and Jarndyce grinds its way through the Court of Chancery, it draws together a disparate group of people: Ada and Richard Clare, whose inheritance is gradually being devoured by legal costs; Esther Summerson, a ward of court, whose parentage is a source of deepening mystery; the menacing lawyer Tulkinghorn; the determined sleuth Inspector Bucket; and even Jo, the destitute little crossing-sweeper. A savage, but often comic, indictment of a society that is rotten to the core, Bleak House is one Dickens’s most ambitious novels, with a range that extends from the drawing rooms of the aristocracy to the poorest of London slums.

This edition follows the first edition in book form of 1853. Terry Eagleton’s preface examines characterization and considers Bleak House as an early work of detective fiction.

'This book rests on a lifetime's thinking about history. It helps us see Shakespeare in "a more realistic light".' Times Literary Supplement The seventeenth century saw the brief flowering of tragic drama across Western Europe. And in the plays of William Shakespeare, this form of drama found its greatest exponent. These Tragedies, Kiernan argues, represented the artistic expression of a new social and political consciousness which permeated every aspect of life in this period. In this book, Kiernan sets out to rescue the Tragedies from the reductionist interpretations of mainstream literary criticism, by uncovering the wider historical context which shaped Shakespeare's writings. Opening with an overview of contemporary England, the development of the theatre, and a portrait of Shakespeare as a writer, Kiernan goes on to provide an in-depth analysis of eight of his Tragedies - from Julius Caesar to Coriolanus - drawing out their contrasts and recurring themes, and exploring their attitudes to monarchy, war, religion, philosophy, and changing relations between men and women. Featuring a new introduction by Terry Eagleton, this is an invaluable resource for those looking for a new perspective on Shakespeare's writings.

A renowned literary theorist reconsiders previous stances and offers his latest thinking on the nature of literature and literary study In this characteristically concise, witty, and lucid book, Terry Eagleton turns his attention to the questions we should ask about literature, but rarely do. What is literature? Can we even speak of "literature" at all? What do different literary theories tell us about what texts mean and do? In throwing new light on these and other questions he has raised in previous best-sellers, Eagleton offers a new theory of what we mean by literature. He also shows what it is that a great many different literary theories have in common. In a highly unusual combination of critical theory and analytic philosophy, the author sees all literary work, from novels to poems, as a strategy to contain a reality that seeks to thwart that containment, and in doing so throws up new problems that the work tries to resolve. The "event" of literature, Eagleton argues, consists in this continual transformative encounter, unique and endlessly repeatable. Freewheeling through centuries of critical ideas, he sheds light on the place of literature in our culture, and in doing so reaffirms the value and validity of literary thought today.

The 1870s in France - Rimbaud's moment, and the subject of this book - is a decade virtually ignored in most standard histories in France. Yet it was the moment of two significant spatial events: France's expansion on a global scale, and, in the spring of 1871, the brief existence on the Paris Commune - the construction of the revolutionary urban space. Arguing that space, as a social fact, is always political and strategic, Kristin Ross has written a book that is at once a history and geography of the Commune's anarchist culture - its political language and social relations, its values, strategies, and stances. Central to her analysis of the Commune as a social space and oppositional culture is a close textual reading of Arthur Rimabaud's poetry. His poems - a common thread running through the book - are one set of documents among many in Ross's recreation of the Communard experience. Rimbaud, Paul Lafargue, and the social geographer Elisee Reclus serve as emblematic figures moving within and on the periphery of the Commune; in their resistance to the logic and economy of the capitalist conception of work, in their challenge to work itself as a term of identity, all three posed a threat to the existing order. Ross looks at these and other emancipatory notions as aspects of Communard life, each with an analogous strategy in Rimbaud's poetry. Applying contemporary theory, to a wealth of little-known archival material, she has written a fresh, persuasive, and original book.

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. In this new edition of his groundbreaking treatise on literary theory, Eagleton seeks to develop a sophisticated relationship between Marxism and literary criticism. Ranging across the key works of Raymond Williams, Lenin, Trotsky, 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. The new introduction sets this classic book in the context of its first appearance and Eagleton provides illuminating reflections on the progress of literary study over the years.