Top 136 Quotes & Sayings by Terry Eagleton - Page 3

What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .

The humanities should constitute the core of any university worth the name.

In conscious life, we achieve some sense of ourselves as reasonably unified, coherent selves, and without this action would be impossible. But all this is merely at the 'imaginary' level of the ego, which is no more than the tip of the iceberg of the human subject known to psychoanalysis. The ego is function or effect of a subject which is always dispersed, never identical with itself, strung out along the chains of the discourses which constitute it.

The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.

Man eternally tries to get back to an organic past that has slipped just beyond his reach.

It is language which speaks in literature, in all its swarming 'polysemic' plurality, not the author himself.

Works of art cannot save us. They can simply render us more sensitive to what needs to be repaired.

Most students of literature can pick apart a metaphor or spot an ethnic stereotype, but not many of them can say things like: 'The poem's sardonic tone is curiously at odds with its plodding syntax.

Readers are less and less seen as mere non-writers, the subhuman "other" or flawed derivative of the author; the lack of a pen is no longer a shameful mark of secondary status but a positively enabling space, just as within every writer can be seen to lurk, as a repressed but contaminating antithesis, a reader.

Because subjects like literature and art history have no obvious material pay-off, they tend to attract those who look askance at capitalist notions of utility. The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.

Writing seems to rob me of my being: it is a second hand mode of communication, a pallid, mechanical transcript of speech, and so always at one remove from my consciousness.

The most compelling confirmation of Marx's theory of history is late capitalist society. There is a sense in which this case is becoming truer as time passes.

Ideology... is a kind of contemporary mythology, a realm which has purged itself of ambiguity and alternative possibility.

Americans use the word "dream" as often as psychoanalysts do.

I do not know whether to be delighted or outraged by the fact that Literary Theory: An Introduction was the subject of a study by a well known U.S. business school, which was intrigued to discover how an academic text could become a best-seller.

What persuades men and women to mistake each other from time to time for gods or vermin is ideology. One can understand well enough how human beings may struggle and murder for good material reasons - reasons connected, for instance, with their physical survival. It is much harder to grasp how they may come to do so in the name of something as apparently abstract as ideas. Yet ideas are what men and women live by, and will occasionally die for.