Difference, the key term in deconstruction, has broken free of its rigorous philosophical context in the work of Jacques Derrida, and turned into an excuse for doing theory the easy way. Celebrating variety for its own sake, Antony Easthope argues, cultural criticism too readily ignores the role of the text itself in addressing the desire of the reader. With characteristic directness, he takes to task the foremost theorists of the current generation one by one, including Edward Said and Homi Bhabha, Dona Haraway, Rosi Braidotti and Judith Butler. In a final tour de force, he contrasts what he calls the two Jakes, Jacques Lacan and Jacques Derrida, to bring out the way their respective theories need each other. The book is vintage Easthope: wide-ranging, fearless, witty and a radical challenge to complacency wherever it is to be found.
In this highly engaging book, Antony Easthope examines 'Englishness' as a form and a series of shared discourses. Discussing the subject of 'nation' - a growing area in literary and cultural studies - Easthope offers polemical arguments written in a lively and accessible style. Englishness and National Culture asserts a profound and unacknowledged continuity between the seventeenth century and today. It argues that contemporary journalists, historians, novelists, poets and comedians continue to speak through the voice of a long-standing empiricist tradition.
Its implications for the practice of literary criticism are far-reaching - and Wordsworth will never be the same again. Antony Easthope is Professor of English and Cultural Studies at Manchester Metropolitan University. At various times he has held visiting fellowships at the Universities of Oxford, Adelaide and Virginia.
First published in 2002. It is easy to see that we are living in a time of rapid and radical social change. New Accents is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change, to stretch rather than reinforce the boundaries that currently define literature and its academic study. This study presents insights into poetry as discourse ooking at language, conventual literary theory, and then a detailed look at the iambic pentameter, ballads in English Poetry, looking at Shakespeare's Sonnet 73. Also included is commentary on transparency looking at Pope's The Rape of the Lock, and Romanticism in the Preface to the Lyrical Ballads and Wordworth's Tintern Abbey. Before ending on the future of poetry there is also a section on the Modernism of T.S. Eliot and Ezra Pound.
Through this exploration of the relation between Marxism, post-structuralism and the theory of the subject, first published in 1988, Antony Easthope contrasts the degree to which post-structuralism has made a radical impact on English and American national cultures. This book reprints an important interview in which Jacques Derrida discusses the
This book shows the existence of the unconscious in a stunning variety of examples - from jokes and rugby songs to Hitchcock's Psycho and the life and death of Princess Diana.
In this book the author examines the relation between historical materialism and psychoanalysis for the understanding of literature. He analyzes central poems in the canonical tradition, poems of courtly love, Romantic poetry, and the modernism and post-modernism of Eliot and Pound.
During the twentieth century, the medium of film has developed as a means of understanding the complexity of modern life. Since 1968, film theory has concentrated not so much on theme or content but on the deeper question of how the medium works on its viewer. Film theory has been profoundly influenced by the writings of such modern thinkers as Saussure, Freud, Lacan, Anthusser, Derrida and Kristeva. It combines modes of textual analysis relating to linguistics and semiology, a Marxist reading of ideology, and theories of subjectivity, the spectator and gender redefined by psychoanalysis. This judicious selection from key work by Stephen Heath, Fredric Jameson, Laura Mulvey, Mary Ann Doanne and others, represents some of the most important contemporary writing about film. It provides a consistent and developing analysis that will be of interest to students concerned with film and film studies, as well as students of cultural, media and communication studies.
First published in 2002. It is easy to see that we are living in a time of rapid and radical social change. New Accents is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change, to stretch rather than reinforce the boundaries that currently define literature and its academic study. This study presents insights into poetry as discourse ooking at language, conventual literary theory, and then a detailed look at the iambic pentameter, ballads in English Poetry, looking at Shakespeare's Sonnet 73. Also included is commentary on transparency looking at Pope's The Rape of the Lock, and Romanticism in the Preface to the Lyrical Ballads and Wordworth's Tintern Abbey. Before ending on the future of poetry there is also a section on the Modernism of T.S. Eliot and Ezra Pound.
Difference, the key term in deconstruction, has broken free of its rigorous philosophical context in the work of Jacques Derrida, and turned into an excuse for doing theory the easy way. Celebrating variety for its own sake, Antony Easthope argues, cultural criticism too readily ignores the role of the text itself in addressing the desire of the reader. With characteristic directness, he takes to task the foremost theorists of the current generation one by one, including Edward Said and Homi Bhabha, Dona Haraway, Rosi Braidotti and Judith Butler. In a final tour de force, he contrasts what he calls the two Jakes, Jacques Lacan and Jacques Derrida, to bring out the way their respective theories need each other. The book is vintage Easthope: wide-ranging, fearless, witty and a radical challenge to complacency wherever it is to be found.
This book shows the existence of the unconscious in a stunning variety of examples - from jokes and rugby songs to Hitchcock's Psycho and the life and death of Princess Diana.
Modern Literary study was founded on an opposition between the canon and its other , popular culture. The theory wars of the 1970s and the 1980s and, in particular, the advent of structuralist and post structuralist theory, transformed this relationship. With `the death of literature', the distinction between high and popular culture was no longer tenable, and the field of inquiry shifted from literary into cultural studies. Anthony Easthope argues that this new discipline must find a methodological consensus for its analysis of canonical and popular texts. Through a detailed criticism of competing theories (British cultural studies, New Historicism, cultural materialism) he shows how this new study should - and should not be done. Easthope's exploration of the problems, possibilities and politics of this new discipline includes an original reassessment of the question of literary value. By contrasting Conrad's Heart of Darkness with Burrough's Tarzan of the Apes, Easthope demonstrates how textuality sustains the opposition between high and popular culture darkness.
In this highly engaging book, Antony Easthope examines 'Englishness' as a form and a series of shared discourses. Discussing the subject of 'nation' - a growing area in literary and cultural studies - Easthope offers polemical arguments written in a lively and accessible style. Englishness and National Culture asserts a profound and unacknowledged continuity between the seventeenth century and today. It argues that contemporary journalists, historians, novelists, poets and comedians continue to speak through the voice of a long-standing empiricist tradition.
In recent decades the study of British foreign policy and diplomacy has broadened in focus. No longer is it enough for historians to look at the actions of the elite figures - diplomats and foreign secretaries - in isolation; increasingly the role of their advisers and subordinates, and those on the fringes of the diplomatic world, is recognised as having exerted critical influence on key decisions and policies. This volume gives further impetus to this revelation, honing in on the fringes of British diplomacy through a selection of case studies of individuals who were able to influence policy. By contextualising each study, the volume explores the wider circles in which these individuals moved, exploring the broader issues affecting the processes of foreign policy. Not the least of these is the issue of official mindsets and of networks of influence in Britain and overseas, inculcated, for example, in the leading public schools, at the Universities of Oxford and Cambridge, and in gentlemen's clubs in London's West End. As such the volume contributes to the growing literature on human agency as well as mentalité studies in the history of international relations. Moreover it also highlights related themes which have been insufficiently studied by international historians, for example, the influence that outside groups such as missionaries and the press had on the shaping of foreign policy and the role that strategy, intelligence and the experience of war played in the diplomatic process. Through such an approach the workings of British diplomacy during the high-tide of empire is revealed in new and intriguing ways.
In this book the author examines the relation between historical materialism and psychoanalysis for the understanding of literature. He analyzes central poems in the canonical tradition, poems of courtly love, Romantic poetry, and the modernism and post-modernism of Eliot and Pound.
Antony Rowland argues that the poetry of Tony Harrison is barbaric. The author discusses how Holocaust literature engages with a number of concepts challenged or altered by historical events, such as love, mourning, memory, culture and barbarism.
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