Terry Eagleton

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 Élisée 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.

Lucid, entertaining and full of insight, How To Read A Poem is designed to banish the intimidation that too often attends the subject of poetry, and in doing so to bring it into the personal possession of the students and the general reader. Offers a detailed examination of poetic form and its relation to content. Takes a wide range of poems from the Renaissance to the present day and submits them to brilliantly illuminating closes analysis. Discusses the work of major poets, including John Milton, Alexander Pope, John Keats, Christina Rossetti, Emily Dickinson, W. B. Yeats, Robert Frost, W. H. Auden, Seamus Heaney, Derek Mahon, and many more. Includes a helpful glossary of poetic terms.

Lucid, entertaining and full of insight, How To Read A Poem is designed to banish the intimidation that too often attends the subject of poetry, and in doing so to bring it into the personal possession of the students and the general reader. Offers a detailed examination of poetic form and its relation to content. Takes a wide range of poems from the Renaissance to the present day and submits them to brilliantly illuminating closes analysis. Discusses the work of major poets, including John Milton, Alexander Pope, John Keats, Christina Rossetti, Emily Dickinson, W. B. Yeats, Robert Frost, W. H. Auden, Seamus Heaney, Derek Mahon, and many more. Includes a helpful glossary of poetic terms.

A new edition of a classic treatise on literary theory seeks to develop a sophisticated relationship between Marxism and literary criticism, evaluating the key works of such figures as Lenin, Trostsky, and Sartre as well as canonical writers including Charles Dickens and T. S. Eliot to demonstrate how ideology can play a productive and subversive role in literature. Reprint.

This wide-ranging book argues that criticism emerged in early bourgeois society as a central feature of a "public sphere" in which political, ethical, and literary judgements could mingle under the benign rule of reason. The disintegration of this fragile culture brought on a crisis in criticism, whose history since the 18th century has been fraught with ambivalence and anxiety. Eagleton's account embraces Addison and Steele, Johnson and the 19-century reviewers, such critics as Arnold and Stephen, the heyday of Scrutiny and New Criticism, and finally the proliferation of avant-garde literary theories such as deconstructionism. The Function of Criticism is nothing less than a history and critique of the "critical institution" itself. Eagleton's judgements on individual critics are sharp and illuminating, which his general argument raises crucial questions about the relations between language, literature and politics.

Playwright, literary theorist, fine analyst of the works of Shakespeare, the Brontës, Swift and Joyce, scourge of postmodernism, autobiographer - Terry Eagleton's achievements are many and his combative intelligence widely admired and respected. His skill as a reviewer is particularly notable: never content merely to assess the ideas of a writer and the theses of a book, Eagleton, in his inimitable and often wickedly funny style, always paints a vivid theoretical and political fresco as the background to his engagement with the texts. In this collection of more than a decade of such bracing criticism, Eagleton comes face to face with Stanley Fish, Gayatri Spivak, Slavoj Zizek, Edward Said, and even David Beckham. All are subjected to his pugnacious wit, scathing critical pen, and brilliant literary investigations.

The golden age of cultural theory (the product of a decade and a half, from 1965 to 1980) is long past. We are living now in its aftermath, in an age which, having grown rich in the insights of thinkers like Althusser, Barthes and Derrida, has also moved beyond them. What kind of new, fresh thinking does this new era demand? Eagleton concludes that cultural theory must start thinking ambitiously again - not so that it can hand the West its legitimation, but so that it can seek to make sense of the grand narratives in which it is now embroiled.

Written by one of the world’s leading literary theorists, this book provides a wide-ranging, accessible and humorous introduction to the English novel from Daniel Defoe to the present day. Covers the works of major authors, including Daniel Defoe, Henry Fielding, Samuel Richardson, Laurence Sterne, Walter Scott, Jane Austen, the Brontës, Charles Dickens, George Eliot, Thomas Hardy, Henry James, Joseph Conrad, Virginia Woolf, D. H. Lawrence and James Joyce. Distils the essentials of the theory of the novel. Follows the model of Eagleton’s hugely popular Literary Theory: An Introduction (Second Edition, 1996).

Written by one of the world’s leading literary theorists, this book provides a wide-ranging, accessible and humorous introduction to the English novel from Daniel Defoe to the present day. Covers the works of major authors, including Daniel Defoe, Henry Fielding, Samuel Richardson, Laurence Sterne, Walter Scott, Jane Austen, the Brontës, Charles Dickens, George Eliot, Thomas Hardy, Henry James, Joseph Conrad, Virginia Woolf, D. H. Lawrence and James Joyce. Distils the essentials of the theory of the novel. Follows the model of Eagleton’s hugely popular Literary Theory: An Introduction (Second Edition, 1996).

Terry Eagleton's Tragedy provides a major critical and analytical account of the concept of 'tragedy' from its origins in the Ancient world right down to the twenty-first century. A major new intellectual endeavour from one of the world's finest, and most controversial, cultural theorists. Provides an analytical account of the concept of 'tragedy' from its origins in the ancient world to the present day. Explores the idea of the 'tragic' across all genres of writing, as well as in philosophy, politics, religion and psychology, and throughout western culture. Considers the psychological, religious and socio-political implications and consequences of our fascination with the tragic.

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 critics of our generation, has some answers in this wonderfully clear and readable analysis. Sharp and concise, it is, without doubt, the most important work on literary criticism that has emerged out of the tradition of Marxist philosophy and social theory since the nineteenth century.

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 critics of our generation, has some answers in this wonderfully clear and readable analysis. Sharp and concise, it is, without doubt, the most important work on literary criticism that has emerged out of the tradition of Marxist philosophy and social theory since the nineteenth century.

If you're looking for a field guide to leprechauns, The Truth About the Irish is not the book for you. But if you can handle a frank and funny look into the minds and hearts of Irish people, you've been touched by that fabled Irish luck. Covering all things Irish from Blarney to Yeats, renowned literary and cultural critic Terry Eagleton separates the myths from the reality with his priceless blend of sidesplitting humor, caustic commentary, and the honest lowdown on the beloved and bewildering country of Ireland.

Terry Eagleton's book, in this vital new series from Blackwell, focuses on discriminating different meanings of culture, as a way of introducing to the general reader the contemporary debates around it.

Scholars and Rebels must be essential reading for all those concerned to understand not just the complexities of nineteenth-century Irish intellectual culture and the emergent Irish Revival, but the formation also of Irish culture in the twentieth century.

Scholars and Rebels must be essential reading for all those concerned to understand not just the complexities of nineteenth-century Irish intellectual culture and the emergent Irish Revival, but the formation also of Irish culture in the twentieth century.

This is the first collection of Terry Eagleton's work for the theatre - St Oscar, The White, the Gold and the Gangrene, Disappearances, and Gods Locusts. The first two originally toured Ireland respectively in productions by Field Day of Derry and Dubbeljoint of Belfast. God's Locusts was broadcast on BBC Radio 3.

In this brilliant critique, Terry Eagleton explores the origins and emergence of postmodernism, revealing its ambivalences and contradictions. Above all he speaks to a particular kind of student, or consumer, of popular "brands" of postmodern thought.

When James Joyce called the Irish "the most belated race in Europe," he stated a complex truth about the history of his people and the nation they had been creating since the eighteenth century. The Irish would, in Joyce's lifetime, write many masterpieces of modernism in English, while at the same time forging a nation-state in many ways still backward-looking and traditionalist. This paradox of Irish history is one of the many topics addressed in Terry Eagleton's latest book. Heathcliff and the Great Hunger reads Irish culture from Swift and Burke to Yeats and Joyce in the light of the tortuous, often tragic socio-political history that conditioned it. Eagleton opens with a brilliant conjugation of Wuthering Heights in the context of the famine in Ireland, highlighting the Irish connections of the Brontë family. He follows with a powerful analysis of the Protestant Ascendancy's failure to achieve hegemony in Ireland; a dissection of the paradoxes of the Act of Union; a detailed account, spanning fiction from Swift and Maria Edgeworth, through Lady Morgan, Mauturin, Le Fanu and Stoker, to George Moore, of why the realist novel never flourished in Ireland; and a pointed consideration of the two great Irish exiles, Oscar Wilde and George Bernard Shaw. The book also looks at the radical culture of Ulster and the cultural politics of nineteenth-century Ireland. Drawing culture, writing and history together in a bold configuration, Eagleton changes the contours of Irish criticism and intervenes powerfully in Irish historical debate.