Terry Eagleton was educated at Cambridge University (where he studied under Raymond Williams) and since 1969 has been a fellow and tutor at Wadharn College, Oxford University. His books include: Shakespeare and Society (1967); The Body as Language: Outlines of a "New Left" Theology (1970); Exiles and Emigrés: Studies in Modern Literature (1970); Myths of Power: A Marxist Study of the Brontës (1975); Marxism and Literary Criticism (1976); Criticism and Ideology (1978); Walter Benjamin, or Towards a Revolutionary Criticism (1981); The Rape of Clarissa: Writing, Sexuality and Class Struggle in Samuel Richardson (1982); and Literary Theory: An Introduction (1983).
     Eagleton may be the most prominent among the younger generation of Marxist literary critics in the English-speaking world. His work is subtle and sophisticated, but also highly partisan and polemical in tone. Like Fredric Jameson, Eagleton shows the influence of French poststructuralist thinkers, especially Lacan and Derrida. He seeks always to disclose the connections between politics and power in academic and intellectual institutions and practices where such connections have been supposed not to exist. His studies of the most famous British authors, from Shakespeare and Richardson through Conrad and the Brontës, always seek to elucidate the effects in and on such classic texts of "ideology " which he defines in this essay as "the link or nexus between discourses and power."
     Literary Theory: An Introduction, from which the "Conclusion" (1983) is reprinted here, offers an overview of twentieth-century ideas about literature and the institutionalization of literary studies in British universities. While written from a Marxist point of view, the book never openly espouses such an approach. In fact, while Eagleton surveys virtually all major trends in modern critical thought-from liberal humanism and the various formalisms through psychoanalysis and poststructuralism-he leaves out overt discussion of the Marxist approach that he is, in fact, employing. The book as a whole, however, constitutes an implicit defense and demonstration of such an approach, and it is in this concluding essay that his Marxism is most apparent.
     The essay advocates the abolition of literary theory but, in fact, actually proposes (as do Jameson and Williams) a self-conscious scrutiny of the bases and procedures of all intellectual practices, so that their true relations to the political-"the way we organize our social life together, and the power-relations this involves"-can be disclosed. Eagleton's conviction is that such scrutiny can only deepen appreciation for the contribution of literature to a critique of the existing order and a vision of human life as it might take shape in the future.

Conclusion: Political Criticism

In the course of this book we have considered a number of problems of literary theory. But the most important question of all has as yet gone unanswered. What is the point of literary theory? Why bother with it in the first place? Are there not issues in the world more weighty than codes, signifiers and reading subjects?
     Let us consider merely one such issue. As I write, it is estimated that the world contains over 60,000 nuclear warheads, many with a capacity a thousand times greater than the bomb which destroyed Hiroshima. The possibility that these weapons will be used in our lifetime is steadily growing. The approximate cost of these weapons is 500 billion dollars a year, or 1.3 billion dollars a day. Five per cent of this sum-25 billion dollars-could drastically, fundamentally alleviate the problems of the poverty-stricken Third World. Anyone who believed that literary theory was more important than such matters would no doubt be considered somewhat eccentric, but perhaps only a little less eccentric than those who consider that the two topics might be somehow related. What has international politics to do with literary theory? Why this perverse insistence on dragging politics into the argument?
     There is, in fact, no need to drag politics into literary theory: as with South African sport, it has been there from the beginning. I mean by the political no more than the way we organize our social life together, and the power-relations which this involves; and what I have tried to show throughout this book is that the history of modern literary theory is part of the political and ideological history of our epoch. From Percy Bysshe Shelley to Norman N. Holland, literary theory has been indissociably bound up with political beliefs and ideological values. Indeed literary theory is less an object of intellectual enquiry in its own right than a particular perspective in which to view the history of our times. Nor should this be in the least cause for surprise. For any body of theory concerned with human meaning, value, language, feeling and experience will inevitably engage with broader, deeper beliefs about the nature of human individuals and societies, problems of power and sexuality, interpretations of past history, versions of the present and hopes for the future. It is not a matter of regretting that this is so-of blaming literary theory for being caught up with such questions, as opposed to some 'pure' literary theory which might be absolved from them. Such 'pure' literary theory is an academic myth: some of the theories we have examined in this book are nowhere more clearly ideological than in their attempts to ignore history and politics altogether. Literary theories are not to be upbraided for being political, but for being on the whole covertly or unconsciously so-for the blindness with which they offer as a supposedly 'technical', 'self-evident'. 'scientific' or ,'universal' truth doctrines which with a little reflection can be seen to relate to and reinforce the particular interests of particular groups of people at particular times. The title of this section, 'Conclusion: Political Criticism', is not intended to mean: 'Finally, a political alternative'; it is intended to mean: 'The conclusion is that the literary theory we have examined is political.'
     It is not only, however. a matter of such biases being covert or unconscious. Sometimes, as with Matthew Arnold, they are neither, and at other times, as with T. S. Eliot, they are certainly covert but not in the least unconscious. It is not the fact that literary theory is political which is objectionable, nor just the fact that its frequent obliviousness of this tends to mislead: what is really objectionable is the nature of its politics. That objection can be briefly summarized by stating that the great majority of the literary theories outlined in this book have strengthened rather than challenged the assumptions of the powersystem some of whose present-day consequences I have just described. I do not mean by this that Matthew Arnold supported nuclear weapons, or that there are not a good many literary theorists who would not dissent in one way or another from a system in which some grow rich on profits from armaments while others starve in the street. I do not believe that many, perhaps most, literary theorists and critics are not disturbed by a world in which some economies, left stagnant and lopsided by generations of colonial exploitation, are still in fee to Western capitalism through their crippling repayments of debts, or that all literary theorists would genially endorse a society like our own, in which considerable private wealth remains concentrated in the hands of a tiny minority, while the human services of education, health, culture and recreation for the great majority are torn to shreds. It is just that they would not regard literary theory as at all relevant to such matters. My own view, as I have commented, is that literary theory has a most particular relevance to this political system: it has helped, wittingly or not, to sustain and reinforce its assumptions.
     Literature, we are told, is vitally engaged with the living situations of men and women: it is concrete rather than abstract, displays life in all its rich variousness, and rejects barren conceptual enquiry for the feel and taste of what it is to be alive. The story of modern literary theory, paradoxically, is the narrative of a flight from such realities into a seemingly endless range of alternatives: the poem itself, the organic society, eternal verities, the imagination, the structure of the human mind, myth, language and so on. Such a flight from real history is in part understandable as a reaction to the antiquarian, historically reductionist criticism which held sway in the nineteenth century; but the extremism of this reaction has been nevertheless striking. It is indeed the extremism of literary theory, its obstinate, perverse, endlessly resourceful refusal to countenance social and historical realities, which most strikes a student of its documents, even though 'extremism' is a term more commonly used of those who would seek to call attention to literature's role in actual life. Even in the act of fleeing modern ideologies, however, literary theory reveals its often unconscious complicity with them, betraying its elitism, sexism or individualism in the very 'aesthetic' or 'unpolitical' language it finds natural to use of the literary text. It assumes, in the main, that at the centre of the world is the contemplative individual self, bowed over its book, striving to gain touch with experience, truth, reality, history or tradition. Other things matter too, of course-this individual is in personal relationship with others, and we are always much more than readers-but it is notable how often such individual consciousness, set in its small circle of relationships, ends up as the touchstone of all else. The further we move from the rich inwardness of the personal life, of which literature is the supreme exemplar, the more drab, mechanical and impersonal existence becomes. It is a view equivalent in the literary sphere to what has been called possessive individualism in the social realm, much as the former attitude may shudder at the latter: it reflects the values of a political system which subordinates the sociality of human life to solitary individual enterprise.
     I began this book by arguing that literature did not exist. How in that case can literary theory exist either? There are two familiar ways in which any theory can provide itself with a distinct purpose and identity. Either it can define itself in terms of its particular methods of enquiry; or it can define itself in terms of the particular object that is being enquired into. Any attempt to define literary theory in terms of a distinctive method is doomed to failure. Literary theory is supposed to reflect on the nature of literature and literary criticism. But just think of how many methods are involved in literary criticism. You can discuss the poet's asthmatic childhood, or examine her peculiar use of syntax; you can detect the rustling of silk in the hissing of the s's, explore the phenomenology of reading, relate the literary work to the state of the class-struggle or find out how many copies it sold. These methods have nothing whatsoever of significance in common. In fact they have more in common with other 'disciplines'-linguistics, history. sociology and so on-than they have with each other. Methodologically speaking, literary criticism is a non-subject. If literary theory is a kind of 'metacriticism', a critical reflection on criticism, then it follows that it too is a nonsubject.
     Perhaps, then, the unity of literary studies is to be sought elsewhere. Perhaps literary criticism and literary theory just mean any kind of talk (of a certain level of 'competence', clearly enough) about an object named literature. Perhaps it is the object, not the method, which distinguishes and delimits the discourse. As long as that object remains relatively stable, we can move equably from biographical to mythological to semiotic methods and still know where we are. But as I argued in the Introduction, literature has no such stability. The unity of the object is as illusory as the unity of the method. 'Literature', as Roland Barthes once remarked, 'is what gets taught.'
     Maybe this lack of methodological unity in literary studies should not worry us unduly. After all, it would be a rash person who would define geography or philosophy, distinguish neatly between sociology and anthropology or advance a snap definition of 'history'. Perhaps we should celebrate the plurality of critical methods, adopt a tolerantly ecumenical posture and rejoice in our freedom from the tyranny of any single procedure. Before we become too euphoric, however. we should notice that there are certain problems here too. For one thing, not all of these methods are mutually compatible. However generously liberal-minded we aim to be, trying to combine structuralism, phenomenology, and psychoanalysis is more likely to lead to a nervous breakdown than to a brilliant literary career. Those critics who parade their pluralism are usually able to do so because the different methods they have in mind are not all that different in the end. For another thing, some of these 'methods' are hardly methods at all. Many literary critics dislike the whole idea of method and prefer to work by glimmers and hunches, intuitions and sudden perceptions. It is perhaps fortunate that this way of proceeding has not yet infiltrated medicine or aeronautical engineering; but even so one should not take this modest disowning of method altogether seriously, since what glimmers and hunches you have will depend on a latent structure of, assumptions often quite as stubborn as that of any structuralist. It is notable that such 'intuitive' criticism, which relies not on 'method' but on 'intelligent sensitivity" does not often seem to intuit, say, the presence of ideological values in literature. Yet there is no reason, on its own reckoning, why it should not. Some traditional critics would appear to hold that other people subscribe to theories while they prefer to read literature 'straightforwardly'. No theoretical or ideological predilections, in other words, mediate between themselves and the text: to describe George Eliot's later world as one of 'mature resignation' is not ideological,
whereas to claim that it reveals evasion and compromise is. It is therefore difficult to engage such critics in debate about ideological preconceptions, since the power of ideology over them is nowhere more marked than in their honest belief that
their readings are 'innocent'. It was Leavis who was being 'doctrinal' in attacking Milton, not C. S. Lewis in defending him; it is feminist critics who insist on confusing literature with politics by examining fictional images of gender, not conventional critics who are being political by arguing that Richardson's Clarissa is largely responsible for her own rape.
     Even so, the fact that some critical methods are less methodical than others proves something of an embarrassment to the pluralists who believe that there is a little truth in everything. (This theoretical pluralism also has its political correlative: seeking to understand everybody's point of view quite often suggests that you yourself are disinterestedly up on high or in the middle, and trying to resolve conflicting viewpoints into a consensus implies a refusal of the truth that some conflicts can be resolved on one side alone.) Literary criticism is rather like a laboratory in which some of the staff are seated in white coats at control panels, while others are throwing sticks in the air or spinning coins. Genteel amateurs jostle with hard-nosed professionals, and after a century or so of 'English' they have still not decided to which camp the subject really belongs. This dilemma is the product of the peculiar history of English, and it cannot really be settled because what is at stake is much more than a mere conflict over methods or the lack of them. The true reason why the pluralists are wishful thinkers is that what is at issue in the contention between different literary theories or 'nontheories' are competing ideological strategies related to the very destiny of English studies in modern society. The problem with literary theory is that it can neither beat nor join the dominant ideologies of late industrial capitalism. Liberal humanism seeks to oppose or at least modify such ideologies with its distaste for the technocratic and its nurturing of spiritual wholeness in a hostile world; certain brands of formalism and structuralism try to take over the technocratic rationality of such a society and thus incorporate themselves into it. Northrop Frye and the New Critics thought that they had pulled off a synthesis of the two, but how many students of literature today read them? Liberal humanism has dwindled to the impotent conscience of bourgeois society, gentle, sensitive and ineffectual; structuralism has already more or less vanished into the literary museum.
     The impotence of liberal humanism is a symptom of its essentially contradictory relationship to modern capitalism. For although it forms part of the 'official' ideology of such society, and the 'humanities' exist to reproduce it, the social order within which it exists has in one sense very little time for it at all. Who is concerned with the uniqueness of the individual, the imperishable truths of the human condition or the sensuous textures of lived experience in the Foreign Office or the boardroom of Standard Oil? Capitalism's reverential hat-tipping to the arts is obvious hypocrisy, except when it can hang them on its walls as a sound investment. Yet capitalist states have continued to direct funds into higher education humanities departments, and though such departments are usually the first in line for savage cutting when capitalism enters on one of its periodic crises, it is doubtful that it is only hypocrisy, a fear of appearing in its true philistine colours, which compels this grudging support. The truth is that liberal humanism is at once largely ineffectual, and the best ideology of the 'human' that present bourgeois society can muster. The 'unique individual' is indeed important when it comes to defending the business entrepreneur's right to make profit while throwing men and women out of work; the individual must at all costs have the 'right to choose', provided this means the right to buy one's child an expensive private education while other children are deprived of their school meals, rather than the rights of women to decide whether to have children in the first place. The 'imperishable truths of the human condition' include such verities as freedom and democracy, the essences of which are embodied in our particular way of life. The 'sensuous textures of lived experience' can be roughly translated as reacting from the gut-judging according to habit, prejudice and 'common sense', rather than according to some inconvenient, 'aridly theoretical' set of debatable ideas. There is, after all, room for the humanities yet, much as those who guarantee our freedom and democracy despise them.
     Departments of literature in higher education, then, are part of the ideological apparatus of the modern capitalist state. They are not wholly reliable apparatuses, since for one thing the humanities contain many values, meanings and traditions which are antithetical to that state's social priorities, which are, rich in kinds of wisdom and experience beyond its comprehension. For another thing, if you allow a lot of young people to do nothing for a few years but read books and talk to each other then it is possible that, given certain wider historical circumstances, they will not only begin to question some of the values transmitted to them but begin to interrogate the authority by which they are transmitted. There is of course no harm in students questioning the values conveyed to them: indeed it is part of the very meaning of higher education that they should do so. Independent thought, critical dissent and reasoned dialectic are part of the very stuff of a humane education; hardly anyone, as I commented earlier, will demand that your essay on Chaucer or Baudelaire arrive inexorably at certain pre-set conclusions. All that is being demanded is that you manipulate a particular language in acceptable ways. Becoming certificated by the state as proficient in literary studies is a matter of being able to talk and write in certain ways. It is this which is being taught, examined and certificated, not what you personally think or believe, though what is thinkable will of course be constrained by the language itself. You can think or believe what you want, as long as you can speak this particular language. Nobody is especially concerned about what you say, with what extreme, moderate, radical or conservative positions you adopt, provided that they are compatible with, and can be articulated within, a specific form of discourse. It is just that certain meanings and positions will not be articulable within it. Literary studies, in other words, are a question of the signifier, not of the signified. Those employed to teach you this form of discourse will remember whether or not you were able to speak it proficiently long after they have forgotten what you said.
     Literary theorists, critics and teachers, then, are not so much purveyors of doctrine as custodians of a discourse. Their task is to preserve this discourse, extend and elaborate it as necessary, defend it from other forms of discourse, initiate newcomers into it and determine whether or not they have successfully mastered it. The discourse itself has no definite signified, which is not to say that it embodies no assumptions: it is rather a network of signifiers able to envelop a whole field of meanings, objects and practices. Certain pieces of writing are selected as being more amenable to this discourse than others, and these are what is known as literature or the 'literary canon'. The fact that this canon is usually regarded as fairly fixed, even at times as eternal and immutable, is in a sense ironic, because since literary critical discourse has no definite signified it can, if it wants to, turn its attention to more or less any kind of writing. Some of those hottest in their defence of the canon have from time to time demonstrated how the discourse can be made to operate on 'non-literary' writing. This, indeed, is the embarrassment of literary ,criticism, that it defines for itself a special
object, literature, while existing as a set of discursive techniques which have no reason to stop short at that object at all. If you have nothing better to do at a party you can always try on a literary critical analysis of it, speak of its styles and genres, discriminate its significant nuances or formalize its sign-systems. Such a 'text' can prove quite as rich as one of the canonical works, and critical dissections of it quite as ingenious as those of Shakespeare. So either literary criticism confesses that it can handle parties just as well as it can Shakespeare, in which case it is in danger of losing its identity along with its object; or it agrees that parties may be interestingly analysed provided that this is called something else: ethnomethodology or hermeneutical phenomenology, perhaps. Its own concern is with literature, because literature is more valuable and rewarding than any of the other texts on which the critical discourse might operate. The disadvantage of this claim is that it is plainly untrue: many films and works of philosophy are considerably more valuable than much that is included in the 'literary canon'. It is not that they are valuable in different ways: they could present objects of value in the sense that criticism defines that term. Their exclusion from what is studied is not because they are not 'amenable' to the discourse: it is a question of the arbitrary authority of the literary institution.
     Another reason why literary criticism cannot justify its self-limiting to certain works by an appeal to their 'value' is that criticism is part of a literary institution which constitutes these works as valuable in the first place. It is not only parties that need to be made into worthwhile literary objects by being treated in specific ways, but also Shakespeare. Shakespeare was not great literature lying conveniently to hand, which the literary institution then happily discovered: he is great literature because the institution constitutes him as such. This does not mean that he is not 'really' great literature-that it is just a matter of people's opinions about him-because there is no such thing as literature which is'really' great, or 'really' anything, independently of the ways in which that writing is treated within specific forms of social and institutional life. There are an indefinite number of ways of discussing Shakespeare, but not all of them count as literary critical. Perhaps Shakespeare himself, his friends and actors, did not talk about his plays in ways which we would regard as literary critical. Perhaps some of the most interesting statements which could be made about Shakespearian drama would also not count as belonging to literary criticism. Literary criticism selects, processes, corrects and rewrites texts in accordance with certain institutionalized norms of the 'literary'-norms which are at any given time arguable, and always historically variable. For though I have said that critical discourse has no determinate signified, there are certainly a great many ways of talking about literature which it excludes, and a great many discursive moves and strategies which it disqualifies as invalid, illicit, noncritical, nonsense. Its apparent generosity at the level of the signified is matched only by its sectarian intolerance at the level of the signifier. Regional dialects of the discourse, so to speak, are acknowledged and sometimes tolerated, but you must not sound as though you are speaking another language altogether. To do so is to recognize in the sharpest way that critical discourse is power. To be on the inside of the discourse itself is to be blind to this power, for what is more natural and nondominative than to speak one's own tongue?
     The power of critical discourse moves on several levels. It is the power of 'policing' language-of determining that certain statements must be excluded because they do not conform to what is acceptably sayable. It is the power of policing writing itself, classifying it into the 'literary' and 'non-literary', the enduringly great and the ephemerally popular. It is the power of authority vis-à-vis others-the power-relations between those who define and preserve the discourse, and those who are selectively admitted to it. It is the power of certificating or non-certificating those who have been judged to speak the discourse better or worse. Finally, it is a question of the power-relations between the literary-academic institution, where all of this occurs, and the ruling power-interests of society at large, whose ideological needs will be served and whose personnel will be reproduced by the preservation and controlled extension of the discourse in question.
     I have argued that the theoretically limitless extendibility of critical discourse, the fact that it is only arbitrarily confined to 'literature', is or should be a source of embarrassment to the custodians of the canon. The objects of criticism, like those of the Freudian drive, are in a certain sense contingent and replaceable. Ironically, criticism only really became aware of this fact when, sensing that its own liberal humanism was running out of steam, it turned for aid to more ambitious or rigorous critical methods. It thought that by adding a judicious pinch of historical analysis here or swallowing a non-addictive dose of structuralism there, it could exploit these otherwise alien approaches to eke out its own dwindling spiritual capital. The boot, however, might well prove to be on the other foot. For you cannot engage in an historical analysis of literature without recognizing that literature itself is a recent historical invention; you cannot apply structuralist tools to Paradise Lost without acknowledging that just the same tools can be applied to the Daily Mirror. Criticism can thus prop itself up only at the risk of losing its defining object; it has the unenviable choice of stifling or suffocating. If literary theory presses its own implications too far, then it has argued itself out of existence.
     This, I would suggest, is the best possible thing for it to do. The final logical move in a process which began by recognizing that literature is an illusion is to recognize that literary theory is an illusion too. It is not of course an illusion in the sense that I have invented the various people I have discussed in this book: Northrop Frye really does exist, and so did F. R. Leavis. It is an illusion first in the sense that literary theory, as I hope to have shown, is really no more than a branch of social ideologies, utterly without any unity or identity which would adequately distinguish it from philosophy, linguistics, psychology, cultural and sociological thought; and secondly in the sense that the one hope it has of distinguishing itself-clinging to an object named literature-is misplaced. We must conclude, then, that this book is less an introduction than an obituary, and that we have ended by burying the object we sought to unearth.
     My intention, in other words , is not to counter the literary theories I have critically examined in this book with a literary theory of my own, which would claim to be more politically acceptable. Any reader who has been expectantly waiting for a Marxist theory has obviously not been reading this book with due attention. There are indeed Marxist and feminist theories of literature, which in my opinion are more valuable than any of the theories discussed here, and to which the reader may like to refer in the bibliography. But this is not exactly the point. The point is whether it is possible to speak of 'literary theory' without perpetuating the illusion that literature exists as a distinct, bounded object of knowledge, or whether it is not preferable to draw the practical consequences of the fact that literary theory can handle Bob Dylan just as well as John Milton. My own view is that it is most useful to see 'literature' as a name which people give from time to time for different reasons to certain kinds of writing within a whole field of what Michel Foucault has called 'discursive practices', and that if anything is to be an object of study it is this whole field of practices rather than just those sometimes rather obscurely labelled 'literature'. I am countering the theories set out in this book not with a literary theory, but with a different kind of discourse-whether one calls it of 'culture', 'signifying practices' or whatever is not of first importance-which would include the objects ('literature') with which these other theories deal, but which would transform them by setting them in a wider context.
     But is this not to extend the boundaries of literary theory to a point where any kind of particularity is lost? Would not a 'theory of discourse' run into just the same problems of methodology and object of study which we have seen in the case of literary studies? After all, there are any number of discourses and any number of ways of studying them. What would be specific to the kind of study I have in mind, however, would be its concern for the kinds of effects which discourses produce, and how they produce them. Reading a zoology textbook to find out about giraffes is part of studying zoology, but reading it to see how its discourse is structured and organized, and examining what kind of effects these forms and devices produce in particular readers in actual situations, is a different kind of project. It is, in fact, probably the oldest form of 'literary criticism' in the world, known as rhetoric. Rhetoric, which was the received form of critical analysis all the way from ancient society to the eighteenth century, examined the way discourses are constructured in order to achieve certain effects. It was not worried about whether its objects of enquiry were speaking or writing, poetry or philosophy, fiction or historiography: its horizon was nothing less than the field of discursive practices in society as a whole, and its particular interest lay in grasping such practices as forms of power and performance. This is not to say that it ignored the truth-value of the discourses in question, since this could often be crucially relevant to the kinds of effect they produced in their readers and listeners. Rhetoric in its major phase was neither a 'humanism', concerned in some intuitive way with people's experience of language, nor a 'formalism', preoccupied simply with analyzing linguistic devices. It looked at such devices in terms of concrete performance-they were means of pleading, persuading, inciting and so on-and at people's responses to discourse in terms of linguistic structures and the material situations in which they functioned. It saw speaking and writing not merely as textual objects, to be aesthetically contemplated or endlessly deconstructed, but as forms of activity inseparable from the wider social relations between writers and readers, orators and audiences, and as largely unintelligible outside the social purposes and conditions in which they were embedded.
     Like all the best radical positions, then, mine is a thoroughly traditionalist one. I wish to recall literary criticism from certain fashionable, new-fangled ways of thinking it has been seduced by-'literature' as a specially privileged object, the 'aesthetic' as separable from social determinants, and so on-and return it to the ancient paths which it has abandoned. Although my case is thus reactionary, I do not mean that we should revive the whole range of ancient rhetorical terms and substitute these for modern critical language. We do not need to do this, since there are enough concepts contained in the literary theories examined in this book to allow us at least to make a start. Rhetoric, or discourse theory, shares with Formalism, structuralism and semiotics an interest in the formal devices of language, but like reception theory is also concerned with how these devices are actually effective at the point of 'consumption'; its preoccupation with discourse as a form of power and desire can learn much from deconstruction and psychoanalytical theory, and its belief that discourse can be a humanly transformative affair shares a good deal with liberal humanism. The fact that 'literary theory' is an illusion does not mean that we cannot retrieve from it many valuable concepts for a different kind of discursive practice altogether.
     There was, of course, a reason why rhetoric bothered to analyze discourses. it did not analyze them just because they were there, any more than most forms of literary criticism today examine literature just for the sake of it. Rhetoric wanted to find out the most effective ways of pleading, persuading and debating, and rhetoricians studied such devices in other people's language in order to use them more productively in their own. It was, as we would say today, a 'creative' as well as a 'critical' activity: the word 'rhetoric' covers both the practice of effective discourse and the science of it. Similarly, there must be a reason why we would consider it worthwhile to develop a form of study which would look at the various sign-systems and signifying practices in our own society, all the way from Moby Dick to the Muppet show, from Dryden and Jean-Luc Goddard to the portrayal of women in advertisements and the rhetorical techniques of Government reports. All theory
and knowledge, as I have argued previously, is 'interested', in the sense that you can always ask why one should bother to develop it in the first place. One striking weakness of most formalist and structuralist criticism is that it is unable to answer this question. The structuralist really does examine sign-systems because they happen to be there, or if this seems indefensible is forced into some rationale-studying our modes of sense-making will deepen our critical self-awarenesswhich is not much different from the standard line of the liberal humanists. The strength of the liberal humanist case, by contrast, is that it is able to say why dealing with literature is worth while. Its answer, as we have seen, is roughly that it makes you a better person. This is also the weakness of the liberal humanist case.
     The liberal humanist response, however, is not weak because it believes that literature can be transformative. It is weak because it usually grossly overestimates this transformative power, considers it in isolation from any determining social context, and can formulate what it means by a 'better person' only in the most narrow and abstract of terms. They are terms which generally ignore the fact that to be a person in the Western society of the 1980s is to be bound up with, and in some sense responsible for, the kinds of political conditions which I began this Conclusion by outlining. Liberal humanism is a suburban moral ideology, limited in practice to largely interpersonal matters. It is stronger on adultery than on armaments, and its valuable concern with freedom, democracy and individual rights are simply not concrete enough. Its view of democracy, for example, is the abstract one of the ballot box, rather than a specific, living and practical democracy which might also somehow concern the operations of the Foreign Office and Standard Oil. Its view of individual freedom is similarly abstract: the freedom of any particular individual is crippled and parasitic as long as it depends on the futile labour and active oppression of others. Literature may protest against such conditions or it may not, but it is only possible in the first place because of them. As the German critic Walter Benjamin put it: 'There is no cultural document that is not at the same time a record of barbarism.' Socialists are those who wish to draw the full, concrete, practical applications of the abstract notions of freedom and democracy to which liberal humanism subscribes, taking them at their word when they draw attention to the 'vividly particular'. It is for this reason that many Western socialists are restless with the liberal humanist opinion of the tyrannies in Eastern Europe, feeling that these opinions simply do not go far enough: what would be necessary to bring down such tyrannies would not be just more free speech, but a workers' revolution against the state.
     What it means to be a 'better person', then, must be concrete and practical-that is to say, concerned with people's political situations as a whole-rather than narrowly abstract, concerned only with the immediate interpersonal relations which can be abstracted from this concrete whole. It must be a question of political and not only of 'moral' argument: that is to say, it must be genuine moral argument, which sees the relations between individual qualities and values and our whole material conditions of existence. Political argument is not an alternative to moral preoccupations: it is those preoccupations taken seriously in their full implications. But the liberal humanists are right to see that there is a point in studying literature, and that this point is not itself, in the end, a literary one. What they are arguing, although this way of putting it would grate harshly on their ears, is that literature has a use. Few words are more offensive to literary ears than 'use', evoking as it does paperclips and hairdryers. The Romantic opposition to the utilitarian ideology of capitalism has made 'use' an unusable word: for the aesthetes, the glory of art is its utter uselessness. Yet few of us nowadays would be prepared to subscribe to that: every reading of a work is surely in some sense a use of it. We may not use Moby Dick to learn how to hunt whales, but we 'get something out of it' even so. Every literary theory presupposes a certain use of literature, even if what you get out of it is its utter uselessness. Liberal humanist criticism is not wrong to use literature, but wrong to deceive itself that it does not. It uses it to further certain moral values, which as I hope to have shown are in fact indissociable from certain ideological ones. and in the end imply a particular form of politics. it is not that it reads the texts 'disinterestedly' and then places what it has read in the service of its values: the values govern the actual reading process itself, inform what sense criticism makes of the works it studies. I am not going to argue, then, for a 'political criticism' which would read literary texts in the light of certain values which are related to political beliefs and actions; all criticism does this. The idea that there are 'non-political' forms of criticism is simply a myth which furthers certain political uses of literature all the more effectively. The difference between a 'political' and 'non-political' criticism is just the difference between the prime minister and the monarch: the latter furthers certain political ends by pretending not to, while the former makes no bones about it. It is always better to be honest in these matters. The difference between a conventional critic who speaks of the 'chaos of experience' in Conrad or Woolf, and the feminist who examines those writers' images of gender, is not a distinction between nonpolitical and political criticism. It is a distinction between different forms of politics-between those who subscribe to the doctrine that history, society and human reality as a whole are fragmentary, arbitrary and directionless, and those who have other interests which imply alternative views about the way the world is. There is no way of settling the question of which politics is preferable in literary critical terms. You simply have to argue about politics. It is not a question of debating whether 'literature' should be related to 'history' or not: it is a question of different readings of history itself.
     The feminist critic is not studying representations of gender simply because she believes that this will further her political ends. She also believes that gender and sexuality are central themes in literature and other sorts of discourse, and that any critical account which suppresses them is seriously defective. Similarly, the socialist critic does not see literature in terms of ideology or class-struggle because these happen to be his or her political interests, arbitrarily projected on to literary works. He or she would hold that such matters are the very stuff of history, and that in so far as literature is an historical phenomenon, they are the very stuff of literature too. What would be strange would be if the feminist or socialist critic thought analyzing questions of gender or class was merely a matter of academic interest-merely a question of achieving a more satisfyingly complete account of literature. For why should it be worth doing this? Liberal humanist critics are not merely out for a more complete account of literature: they wish to discuss literature in ways which will deepen, enrich and extend our lives. Socialist and feminist critics are quite at one with them on this: it is just that they wish to point out that such deepening and enriching entails the transformation of a society divided by class and gender. They would like the liberal humanist to draw the full implications of his or her position. If the liberal humanist disagrees, then this is a political argument, not an argument about whether one is 'using' literature or not.
     I argued earlier that any attempt to define the study of literature in terms of either its method or its object is bound to fail. But we have now begun to discuss another way of conceiving what distinguishes one kind of discourse from another, which is neither ontological or methodological but strategic. This means asking first not what the object is or how we should approach it, but why we should want to engage with it in the first place. The liberal humanist response to this question, I have suggested, is at once perfectly reasonable and, as it stands, entirely useless. Let us try to concretize it a little by asking how the reinvention of rhetoric that I have proposed (though it might equally as well be called 'discourse theory' or 'cultural studies' or whatever) might contribute to making us all better people. Discourses, sign-systems and signifying practices of all kinds, from film and television to fiction and the languages of natural science, produce effects, shape forms of consciousness and unconsciousness, which are closely related to the maintenance or transformation of our existing systems of power. They are thus closely related to what it means to be a person. Indeed 'ideology' can be taken to indicate no more than this connectionthe link or nexus between discourses and power. Once we have seen this, then the questions of theory and method may be allowed to appear in a new light. It is not a matter of starting from certain theoretical or methodological problems: it is a matter of starting from what we want to do, and then seeing which methods and theories will best help us to achieve these ends. Deciding on your strategy will not pre-determine which methods and objects of study are most valuable. As far as the object of study goes, what you decide to examine depends very much on the practical situation. It may seem best to look at Proust and King Lear, or at children's television programmes or popular romances or avant-garde films. A radical critic is quite liberal on these questions: he rejects the dogmatism which would insist that Proust is always more worthy of study than television advertisements. It all depends on what you are trying to do, in what situation. Radical critics are also open-minded about questions of theory and method: they tend to be pluralists in this respect. Any method or theory which will contribute to the strategic goal of human emancipation, the production of 'better people' through the socialist transformation of society, is acceptable. Structuralism, semiotics, psychoanalysis, deconstruction, reception theory and so on: all of these approaches, and others, have their valuable insights which may be put to use. Not all literary theories, however, are likely to prove amenable to the strategic goals in question: there are several examined in this book which seem to me highly unlikely to do so. What you choose and reject theoretically, then, depends upon what you are practically trying to do. This has always been the case with literary criticism: it is simply that it is often very reluctant to realize the fact. In any academic study we select the objects and methods of procedure which we believe the most important, and our assessment of their importance is governed by frames of interest deeply rooted in our practical forms of social life. Radical critics are no different in this respect: it is just that they have a set of social priorities with which most people at present tend to disagree. This is why they are commonly dismissed as 'ideological', because 'ideology' is always a way of describing other people's interests rather than one's own.
     No theory or method, in any case, will have merely one strategic use. They can be mobilized in a variety of different strategies for a variety of ends. But not all methods will be equally amenable to particular ends. It is a matter of finding out, not of assuming from the start that a single method or theory will do. One reason why I have not ended this book with an account of socialist or feminist literary theory is that I believe such a move might encourage the reader to make what the philosophers call a 'category mistake'. It might mislead people into thinking that 'political criticism' was another sort of critical approach from those I have discussed, different in its assumptions but essentially the same kind of thing. Since I have made clear my view that all criticism is in some sense political, and since people tend to give the word 'political' to criticism whose politics disagrees with their own, this cannot be so. Socialist and feminist criticism are, of course, concerned with developing theories and methods appropriate to their aims: they consider questions of the relations between writing and sexuality, or of text and ideology, as other theories in general do not. They will also want to claim that these theories are more powerfully explanatory than others, for if they were not there would be no point in advancing them as theories. But it would be a mistake to see the particularity of such forms of criticism as consisting in the offering of alternative theories of methods. These forms of criticism differ from others because they define the object of analysis differently, have different values, beliefs and goals, and thus offer different kinds of strategy for the realizing of these goals.
     I say 'goals', because it should not be thought that this form of criticism has only one. There are many goals to be achieved, and many ways of achieving them. In some situations the most productive procedure may be to explore how the signifying systems of a 'literary' text produce certain ideological effects; or it may be a matter of doing the same with a Hollywood film. Such projects may prove particularly important in teaching cultural studies to children; but it may also be valuable to use literature to foster in them a sense of linguistic potential denied to them by their social conditions. There are 'utopian' uses of literature of this kind, and a rich tradition of such utopian thought which should not be airily dismissed as 'idealist'. The active enjoyment of cultural artefacts should not, however, be relegated to the primary school, leaving older students with the grimmer business of analysis. Pleasure, enjoyment, the potentially transformative effects of discourse is quite as 'proper' a topic for 'higher' study as is the setting of puritan tracts in the discursive formations of the seventeenth century. On other occasions what might prove more useful will not be the criticism or enjoyment of other people's discourse but the production of one's own. Here, as with the rhetorical tradition, studying what other people have done may help. You may want to stage your own signifying practices to enrich, combat, modify or transform the effects which others' practices produce.
     Within all of this varied activity, the study of what is currently termed 'literature', will have its place. But it should not be taken as an a priori assumption that what is currently termed 'literature' will always and everywhere be the most important focus of attention. Such dogmatism has no place in the field of cultural study. .Nor are the texts now dubbed 'literature' likely to be perceived and defined as they are now, once they are returned to the broader and deeper discursive formations of which they are part. They will be inevitably 'rewritten' recycled, put to different uses, inserted into different relations and practices. They always have been, of course; but one effect of the word 'literature' is to prevent us from recognizing this fact.
     Such a strategy obviously has far-reaching institutional implications. It would mean, for example, that departments of literature as we presently know them in higher education would cease to exist. Since the government, as I write, seems on the point of achieving this end more quickly and effectively than I could myself, it is necessary to add that the first political priority for those who have doubts about the ideological implications of such departmental organizations is to defend them unconditionally against government assaults. But this priority cannot mean refusing to contemplate how we might better organize literary studies in the longer term. The ideological effects of such departments lie not only in the particular values they disseminate, but in their implicit and actual dislocation of 'literature' from other cultural and social practices. The churlish admission of such practices as literary 'background' need not detain us: 'background with its static, distancing connotations, tells its own story. Whatever would in the long term replace such departments-and the proposal is a modest one, for such experiments are already under way in certain areas of higher education-would centrally involve education in the various theories and methods of cultural analysis. The fact that such education is not routinely provided by many existing departments of literature, or is provided 'optionally' or marginally, is one of their most scandalous and farcical features. (Perhaps their other most scandalous and farcical feature is the largely wasted energy which postgraduate students are required to pour into obscure, often spurious research topics in order to produce dissertations which are frequently no more than sterile academic exercises, and which few others will ever read.) The genteel amateurism which regards criticism as some spontaneous sixth sense has not only thrown many students of literature into understandable confusion for many decades, but serves to consolidate the authority of those in power. If criticism is no more than a knack, like being able to whistle and hum different tunes simultaneously, then it is at once rare enough to be preserved in the hands of an elite, while 'ordinary' enough to require no stringent theoretical justification. Exactly the same pincer movement is at work in English 'ordinary language' philosophy. But the answer is not to replace such dishevelled amateurism with a well-groomed professionalism intent on justifying itself to the disgusted taxpayer. Such professionalism, as we have seen, is equally bereft of any social validation of its activities, since it cannot say why it should bother with literature at all other than to tidy it up, drop texts into their appropriate categories and then move over into marine biology. If the point of criticism is not to interpret literary works but to master in some disinterested spirit the underlying sign-systems which generate them, what is criticism to do once it has achieved this mastery, which will hardly take a lifetime and probably not much more than a few years?
     The present crisis in the field of literary studies is at root a crisis in the definition of the subject itself. That it should prove difficult to provide such a definition is, as I hope to have shown in this book, hardly surprising. Nobody is likely to be dismissed from an academic job for trying on a little semiotic analysis of Edmund Spenser; they are likely to be shown the door, or refused entry through it in the first place, if they question whether the 'tradition' from Spenser to Shakespeare and Milton is the best or only way of carving up discourse into a syllabus. It is at this point that the canon is trundled out to blast offenders out of the literary arena
     Those who work in the field of cultural practices are unlikely to mistake their activity as utterly central. Men and women do not live by culture alone, the vast majority of them throughout history have been deprived of the chance of living by it at all, and those few who are fortunate enough to live by it now are able to do so because of the labour of those who do not. Any cultural or critical theory which does not begin from this single most important fact, and hold it steadily in mind in its activities, is in my view unlikely to be worth very much. There is no document of culture which is not also a record of barbarism. But even in societies which, like our own as Marx reminded us, have no time for culture, there are times and places when it suddenly becomes newly relevant, charged with a significance beyond itself. Four such major moments are evident in our own world. Culture, in the lives of nations struggling for their independence from imperialism, has a meaning quite remote from the review pages of the Sunday newspapers. Imperialism is not only the exploitation of cheap labour-power, raw materials and easy markets but the uprooting of languages and customs-not just the imposition of foreign armies, but of alien ways of experiencing. It manifests itself not only in company balancesheets and in airbases, but can be tracked to the most intimate roots of speech and signification. In such situations, which are not all a thousand miles from our own doorstep, culture is so vitally bound up with one's common identity that there is no need to argue for its relation to political struggle. It is arguing against it which would seen incomprehensible.
     The second area where cultural and political action have become closely united is in the women's movement. It is in the nature of feminist politics that signs and images, written and dramatized experience, should be of especial significance. Discourse in all its forms is an obvious concern for feminists, either as places where women's oppression can be deciphered, or as places where it can be challenged. In any politics which puts identity and relationship centrally at stake, renewing attention to lived experience and the discourse of the body, culture does not need to argue its way to political relevance. Indeed one of the achievements of the women's movement has been to redeem such phrases as 'lived experience' and 'the discourse of the body' from the empiricist connotations with which much literary theory has invested them. 'Experience' need now no longer signify an appeal away from power-systems and social relations to the privileged certainties of the private, for feminism recognizes no such distinction between questions of the human subject and questions of political struggle. The discourse of the body is not a matter of Lawrentian ganglions and suave loins of darkness, but a politics of the body, a rediscovery of its sociality through an awareness of the forces which control and subordinate it.
     The third area in question is the 'culture industry'. While literary critics have been cultivating sensibility in a minority, large segments of the media have been busy trying to devastate it in the majority; yet it is still presumed that studying, say, Gray and Collins is inherently more important than examining television or the popular press. Such a project differs from the two I have outlined already in its essentially defensive character: it represents a critical reaction to someone else's cultural ideology rather than an appropriation of culture for one's own ends. Yet it is a vital project nevertheless, which must not be surrendered to a melancholic Left or Right mythology of the media as impregnably monolithic. We know that people do not after all believe all that they see and read; but we also need to know much more than we do about the role such effects play in their general consciousness, even though such critical study should be seen, politically, as no more than a holding operation. The democratic control of these ideological apparatuses, along with popular alternatives to them, must be high on the agenda of any future socialist programme.
     The fourth and final area is that of the strongly emergent movement of workingclass writing. Silenced for generations, taught to regard literature as a coterie activity beyond their grasp, working people over the past decade in Britain have been actively organizing to find their own literary styles and voices. The worker writers' movement is almost unknown to academia, and has not been exactIy encouraged by the cultural organs of the state; but it is one sign of a significant break from the dominant relations of literary production. Community and cooperative publishing enterprises are associated projects, concerned not simply with a literature wedded to alternative social values, but with one which challenges and changes the existing social relations between writers, publishers, readers and other literary workers. It is because such ventures interrogate the ruling definitions of literature that they cannot so easily be incorporated by a literary institution quite happy to welcome Sons and Lovers, and even, from time to time, Robert Tressell.
     These areas are not alternatives to the study of Shakespeare and Proust. If the study of such writers could become as charged with energy, urgency and enthusiasm as the activities I have just reviewed, the literary institution ought to rejoice rather than complain. But it is doubtful that this will happen when such texts are hermetically sealed from history, subjected to a sterile critical formalism, piously swaddled with eternal verities and used to confirm prejudices which any moderately enlightened student can perceive to be objectionable. The liberation of Shakespeare and Proust from such controls may well entail the death of literature, but it may also be their redemption.
     I shall end with an allegory. We know that the lion is stronger than the lion-tamer, and so does the lion-tamer. The problem is that the lion does not know it. It is not out of the question that the death of literature may help the lion to awaken.