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In the first introduction to Marxist literary criticism in decades, Barbara Foley argues that Marxism continues to offer the best framework for exploring the relationship between literature and society. She lays out in clear terms the principal aspects of Marxist methodology--historical materialism, political economy, and ideology critique--as well as key debates about the nature of literature and the goals of literary criticism and pedagogy. Examining a wide range of texts through the empowering lens of Marxism--from Jane Austen's Pride and Prejudice to E. L. James's Fifty Shades of Grey, from Frederick Douglass's 'What to the Slave Is the Fourth of July?' to Annie Proulx's 'Brokeback Mountain'--Foley provides a clear and compelling textbook of Marxist literary criticism.
In the first introduction to Marxist literary criticism in decades, Barbara Foley argues that Marxism continues to offer the best framework for exploring the relationship between literature and society. She lays out in clear terms the principal aspects of Marxist methodology--historical materialism, political economy, and ideology critique--as well as key debates about the nature of literature and the goals of literary criticism and pedagogy. Examining a wide range of texts through the empowering lens of Marxism--from Jane Austen's Pride and Prejudice to E. L. James's Fifty Shades of Grey, from Frederick Douglass's 'What to the Slave Is the Fourth of July?' to Annie Proulx's 'Brokeback Mountain'--Foley provides a clear and compelling textbook of Marxist literary criticism.
Marxism has had an enormous impact on literary and cultural studies, and all those interested in the field need to be aware of its achievements. This collection presents the very best of recent Marxist literary criticism in one single volume. An international group of contributors provide an introduction to the development, current trends and evolution of the subject. They include such notable Marxist critics as Tony Bennett, Terry Eagleton, Edward W. Said, Raymond Williams and Fredric Jameson. A diverse range of subjects are analysed such as James Bond, Brecht, Jane Austen and the modern history of the aesthetic.
"Far and away the best short introduction to Marxist criticism (both history and problems) which I have seen."--Fredric R. Jameson "Terry Eagleton is that rare bird among literary critics--a real writer."--Colin McCabe, The Guardian
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.
Critical Theory Today is the essential introduction to contemporary criticial theory. It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness. This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.
This classic study examines the place of literature within Marxist cultural theory, and offers an assessment of the contributions of previous thinkers to Marxist literary theory.
The Communist Party's attitude toward art in this period was, in general, epiphenomenal of its economic policy. A resolution of 1925 voiced the party's refusal to sanction anyone's literary faction. This reflected the New Economic Policy (NEP) of a limited free-market economy. The period of the First Five-Year Plan (1928-1932) saw a more or less voluntary return to a more committed artistic posture, and during the second Five-Year Plan (1932-1936), this commitment was crystallized in the formation of a Writers' Union. The first congress of this union in 1934, featuring speeches by Maxim Gorky and Bukharin, officially adopted socialist realism, as defined primarily by Andrei Zhdanov (1896-1948). Aptly dubbed by Terry Eagleton as "Stalin's cultural thug," it was Zhdanov whose proscriptive shadow thenceforward fell over Soviet cultural affairs. Although Nikolai Bukharin's speech at the congress had attempted a synthesis of Formalist and sociological attitudes, premised on his assertion that within "the microcosm of the word is embedded the macrocosm of history," Bukharin was eventually to fall from his position as the leading theoretician of the party: his trial and execution, stemming from his political and economic differences with Stalin, were also symptomatic of the fact that Formalism soon became a sin once more. Bukharin had called for socialist realism to portray not reality "as it is" but rather as it exists in socialist imagination.
First published in 1979. Routledge is an imprint of Taylor & Francis, an informa company.