“Fredric Jameson: The Politics of Style” by Terry Eagleton: Summary and Critique

Introduction: “Fredric Jameson: The Politics of Style” by Terry Eagleton

“Fredric Jameson: The Politics of Style” by Terry Eagleton first appeared in 1982 in the journal Diacritics. This essay is considered a significant contribution to the fields of literature and literary theory. Eagleton examines Jameson’s work on Marxist literary criticism, focusing on his concept of “the political unconscious.” Eagleton argues that Jameson’s approach offers a valuable way to understand how literary texts reflect and shape the underlying social and political structures of their time. This essay has been influential in shaping discussions about the relationship between literature and politics, and it continues to be widely cited and studied today.

Summary of “Fredric Jameson: The Politics of Style” by Terry Eagleton

Literary Terms/Concepts in “Fredric Jameson: The Politics of Style” by Terry Eagleton

Literary Term/Concept	Explanation	Reference in the Text
Dialectical Thought	A method of reasoning that involves a dialogue between opposing views, striving to reach a higher synthesis.	Eagleton references Jameson’s dialectical writing style, which balances competing extremes.
Marxism	A social, political, and economic theory that focuses on the material conditions of class struggle and history.	The entire article explores how Jameson integrates Marxist theory into his stylistic approach.
Reification	The process of treating abstract concepts or social relations as if they are real, tangible objects.	Eagleton critiques how Jameson’s focus on reification affects his theoretical priorities.
Hegelian Marxism	A blend of Hegelian dialectics with Marxist materialism, emphasizing the historical and social context of ideas.	Jameson’s writing is deeply informed by Hegelian Marxism, which shapes his theoretical framework.
Utopianism	The belief in or pursuit of a perfect, ideal society, often depicted as a vision of a better future.	Eagleton suggests that Jameson’s style reflects a utopian vision, compensating for postponed political goals.
Écriture	A French term referring to “writing” as a system of signs, particularly within structuralist and post-structuralist thought.	Jameson moderates between écriture (writing) and écrivant (writing subject) in his style.
Form and Content	The relationship between the way something is written (form) and what it expresses (content).	Eagleton examines how Jameson’s style (form) is inseparable from his political and historical analysis (content).
Structuralism	A theoretical approach that sees elements of human culture as part of a system of relationships.	Eagleton points to Jameson’s engagement with structuralism in his work on literary and cultural criticism.
Superstructure	In Marxist theory, the cultural, ideological, and institutional systems built upon the economic base (infrastructure).	Eagleton addresses Jameson’s critique of the autonomy of superstructures in relation to history.
Metaphor and Metonymy	Metaphor is a figure of speech that involves a direct comparison, while metonymy involves substituting a related concept or part.	Jameson’s writing is described as metaphorically dense, using these devices to enrich his analysis.

Contribution of “Fredric Jameson: The Politics of Style” by Terry Eagleton to Literary Theory/Theories

• Jameson’s Style: Eagleton describes Jameson’s prose as “magisterial,” “busily metaphorical,” and possessing a “burnished elegance.” He argues that this style is often overlooked in favor of focusing on the content of his work.
• Pleasure vs. Jouissance: Eagleton suggests Jameson prioritizes a sense of intellectual “pleasure” over the more disruptive “jouissance” found in some critical theory. This “pleasure” is rooted in historical possibility, not immediate gratification.
• Historical Deferment: Eagleton argues that Jameson’s style reflects the “deferment” of revolutionary goals. The richness of his language offers a glimpse of a utopian future that cannot be fully realized in the present.
• Duality of the Jamesonian Sentence: Eagleton sees Jameson’s sentences as balancing political message with the play of language. This creates a space where the reader can engage with both aspects.
• Ambivalence and Critique: Eagleton suggests Jameson’s writing embodies a tension between critique and commentary. He analyzes texts with a “myopically immanent” approach, both faithful and estranging, similar to Benjamin and Adorno.
• Appropriation and Transformation: Eagleton identifies Jameson’s tendency to extensively reference and “appropriate” various theoretical frameworks. However, he questions whether these frameworks are always fully transformed through his engagement.
• History and Materialism: Eagleton highlights the centrality of history and material struggle in Jameson’s work. He critiques Jameson’s approach to historicism, suggesting a more nuanced engagement with Althusser’s ideas might be productive.

Examples of Critiques Through “Fredric Jameson: The Politics of Style” by Terry Eagleton

Literary Work	Potential Critique Based on Eagleton’s Ideas
The Great Gatsby by F. Scott Fitzgerald	Jameson might argue that the novel’s depiction of the American Dream is a critique of capitalism’s illusions and its ability to create a false sense of happiness.
Heart of Darkness by Joseph Conrad	Jameson could analyze the novel’s exploration of colonialism and its psychological effects on individuals. He might focus on the way the novel reveals the darkness inherent in Western civilization.
Ulysses by James Joyce	Jameson might critique Joyce’s stream-of-consciousness technique for its potential to obscure political and social realities. He could argue that the novel’s focus on individual consciousness can distract from larger historical and cultural forces.
Beloved by Toni Morrison	Jameson could analyze the novel’s exploration of the trauma of slavery and its lasting impact on African Americans. He might focus on the way the novel critiques the dominant narratives of American history and offers a counter-narrative.

Criticism Against “Fredric Jameson: The Politics of Style” by Terry Eagleton

1. Overemphasis on Style: Some critics argue that Eagleton places too much emphasis on Jameson’s style and its relationship to his political views. They contend that while style can be informative, it should not overshadow the content and substance of Jameson’s work.
2. Limited Engagement with Post-Structuralism: Eagleton’s essay has been criticized for not fully engaging with post-structuralist theories. Some argue that his analysis could benefit from a more in-depth exploration of these ideas and their implications for Jameson’s work.
3. Oversimplification of Jameson’s Position: Eagleton’s portrayal of Jameson’s position on certain issues, such as the relationship between theory and practice, has been seen as overly simplistic. Critics argue that Jameson’s views are more nuanced and complex than Eagleton suggests.
4. Lack of Engagement with Contemporary Debates: Some critics contend that Eagleton’s essay does not adequately address contemporary debates within literary theory and criticism. They argue that a more up-to-date analysis would be necessary to fully understand the significance of Jameson’s work today.
5. Neglect of Jameson’s Later Work: Eagleton’s essay primarily focuses on Jameson’s earlier work. Critics argue that a more comprehensive analysis would need to consider his later writings, which explore different themes and approaches.

Representative Quotations from “Fredric Jameson: The Politics of Style” by Terry Eagleton with Explanation

Quotation	Explanation
“Jameson composes rather than writes his texts, and his prose […] carries an intense libidinal charge, a burnished elegance and unruffled poise…” (p. 14).	Eagleton praises Jameson’s writing style, suggesting that it is both aesthetically pleasing and intellectually rigorous. This highlights Jameson’s deliberate and controlled approach to composing his prose.
“Style in Jameson is the excess or self-delight which escapes even his own most strenuously analytical habits…” (p. 15).	Eagleton argues that Jameson’s style sometimes exceeds his analytical goals, representing a space where pleasure and excess reside. This introduces the idea that style is a critical yet playful aspect of Jameson’s theoretical work.
“Jameson’s historical responsibilities prevent him from adopting the ‘sumptuous and perverse’ style of a Barthes…” (p. 15).	Eagleton contrasts Jameson with Barthes, suggesting that Jameson’s political commitments limit him from indulging in purely aesthetic or sensual prose. His style is therefore restrained by his concern with historical and political realities.
“The excitement of reading Jameson is to see each time how this trick will be pulled off…” (p. 16).	This quotation encapsulates the thrill of reading Jameson’s works, as his style carefully balances complexity and clarity without becoming overly dense or obscure. Eagleton appreciates how Jameson manages to keep his writing engaging despite its theoretical depth.
“Jameson’s style is less cosmopolitan than homeless…” (p. 16).	Eagleton uses the metaphor of “homelessness” to describe how Jameson’s style does not fit neatly into any one literary or cultural tradition. This points to the unique and hybrid nature of his writing, which draws on multiple influences but is distinctly his own.
“Style in Jameson, then, both compensates for and adumbrates pleasures historically postponed…” (p. 18).	Eagleton suggests that Jameson’s style serves to highlight and compensate for political ideals that have yet to be realized, reflecting a utopian dimension in his writing. This connects his stylistic choices to his broader political vision of a future society.
“Jameson’s writing seems to me to escape, and round challengingly upon, this now most compulsively repetitive of critical dogmas…” (p. 15).	Eagleton points out that Jameson’s writing avoids becoming formulaic or dogmatic. Instead, it actively challenges existing critical frameworks, including those within Marxism, and refuses to settle into predictable patterns of critique.
“There is no historical conjuncture except from the standpoint of a desirable future” (p. 18).	This quote reflects Jameson’s Marxist perspective, in which history is always interpreted in relation to the future. Eagleton emphasizes how Jameson’s political and historical analyses are influenced by the vision of an ideal future, rather than a focus solely on past or present conditions.
“What distinguishes Marxism from the more debased forms of Romantic anarchism is not a refusal of jouissance but a recognition of its material grounds of possibility” (p. 16).	Eagleton contrasts Marxism with Romantic anarchism, stating that Marxism acknowledges the material conditions required for fulfillment or pleasure (jouissance). This demonstrates Jameson’s Marxist focus on the material realities underlying cultural and theoretical phenomena.
“The problem of deciding whether Jameson is transcribing or free-wheeling […] is the stylistic index of a more fundamental dilemma…” (p. 17).	Eagleton raises the issue of whether Jameson’s writing is merely descriptive or whether it goes beyond this into creative critique. This reflects a deeper tension in Jameson’s work between adherence to existing theories and a desire to challenge and transcend them.

Suggested Readings: “Fredric Jameson: The Politics of Style” by Terry Eagleton

1. Buchanan, Ian. Fredric Jameson: Live Theory. Continuum, 2006.
2. Eagleton, Terry. Literary Theory: An Introduction. University of Minnesota Press, 1983.
   https://www.upress.umn.edu/book-division/books/literary-theory
3. Jameson, Fredric. Marxism and Form: Twentieth-Century Dialectical Theories of Literature. Princeton University Press, 1971.
4. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Cornell University Press, 1981.
5. Anderson, Perry. The Origins of Postmodernity. Verso, 1998.
6. Eagleton, Terry. “Fredric Jameson: The Politics of Style.” Diacritics, vol. 12, no. 3, 1982, pp. 14–22. JSTOR, https://doi.org/10.2307/464940. Accessed 20 Sept. 2024.
7. Dalglish Chew. “Feeling Utopian: Demystification and the Management of Affect.” Cultural Critique, vol. 97, 2017, pp. 24–56. JSTOR, https://doi.org/10.5749/culturalcritique.97.2017.0024. Accessed 20 Sept. 2024.
8. Kavanagh, James H., et al. “Interview: Terry Eagleton.” Diacritics, vol. 12, no. 1, 1982, pp. 52–64. JSTOR, https://doi.org/10.2307/464791 Accessed 20 Sept. 2024.