
Introduction: “The Contradictions of Postmodernism” by Terry Eagleton
“The Contradictions of Postmodernism” by Terry Eagleton first appeared in 1997 in the journal New Literary History (Vol. 28, No. 1), a special issue titled Cultural Studies: China and the West, published by The Johns Hopkins University Press. In this incisive and polemical essay, Eagleton critiques the ideological assumptions and internal inconsistencies of postmodernism, especially as it manifests in the Western cultural left. He argues that postmodernism, while appearing radical in its celebration of plurality, fluidity, and cultural difference, paradoxically mirrors the logic of advanced capitalism, becoming both a critique and a reinforcement of the status quo. Culturalism—one of his key targets—is shown to be as reductive in its emphasis on the socially constructed as economism is in its materialism, thereby sidelining common human realities. Eagleton also challenges the idea that historicism or cultural marginality is inherently subversive, exposing these claims as forms of formalist illusion lacking substantive political critique. By showing how postmodernism has shifted from being a space of resistance to one of commodified integration, Eagleton underscores the complicity of culture in global capitalist reproduction. The importance of this article lies in its forceful reassertion of a materialist and dialectical critique at a time when postmodern relativism dominated literary and cultural theory. It remains a foundational work for scholars interrogating the intersections of ideology, cultural politics, and late capitalism.
Summary of “The Contradictions of Postmodernism” by Terry Eagleton
🔴 Postmodernism Mirrors Capitalism, Not Opposes It
Eagleton argues that postmodernism is both a critique of and complicit in capitalist ideology. It mimics the logic of the market with its celebration of fluidity, plurality, and relativism, thus undercutting its own radical potential. He writes:
“Postmodernism is both radical and conservative together, springing as it does from this structural contradiction at the core of advanced capitalism itself” (Eagleton, 1997, p. 5).
Rather than being a force of resistance, postmodern culture has become a commodity, functioning “thoroughly under the sway of the commodity form” (p. 3).
🟢 Culturalism Is a Reductive Ideology
Eagleton critiques culturalism—the belief that everything is culturally constructed—as just another “ism”, as reductive as biologism or economism:
“Culturalism inflates the importance of what is constructed…as against what human beings have in common as natural material animals” (p. 1).
This form of thinking ignores shared material conditions and can be just as politically neutral or conservative as other ideologies.
🔵 Historicism Is Not Inherently Radical
Eagleton also challenges the assumption that historicism naturally aligns with leftist or progressive politics. He states:
“Much historicism in Europe has been firmly in possession of political conservatism” (p. 2),
reminding readers that historical awareness alone does not guarantee subversive or liberatory outcomes.
🟣 Culture as a Site of Contradiction
In postmodern society, culture becomes both a means of resistance and domination. Eagleton traces this back to a re-merging of the symbolic and the economic, where art and culture no longer sit outside the marketplace:
“Cultural production rejoins general production…now thoroughly under the sway of the commodity form” (p. 3).
Thus, culture no longer offers refuge or critical distance but becomes entangled with the very forces it critiques.
🟡 The Irony of Postmodernism’s Global Export
He highlights the irony that postmodernism, which preaches difference, contributes to cultural homogenization, especially in emerging economies like China:
“Postmodern theory has arrived along with the latest shipment of Coca-Cola” (p. 6).
This philosophy of difference is paradoxically used to universalize Western norms in the name of pluralism.
🟠 The Enlightenment Debate: Gains vs. Losses
Eagleton argues for a dialectical view of Enlightenment, recognizing both its emancipatory aspirations and historical failures:
“The doctrine which has traditionally tried to redeem the positive kernel of Enlightenment…is known as socialism” (p. 6).
He cautions that postmodern rejection of Enlightenment risks losing its most valuable legacies, such as civil liberties and universal rights.
🟤 Postmodern Culture as Ideological Displacement
Culture, Eagleton explains, has become a primary terrain of political struggle, especially in the wake of the decline of classical class-based politics:
“Culture becomes part of the very terms in which political interests articulate themselves” (p. 4).
This shift is seen both as an enrichment and a distraction, potentially displacing more direct forms of material struggle.
⚫ Subversion and Plurality Are Not Automatically Radical
Eagleton dismantles the myth that all forms of difference and marginality are inherently progressive:
“There is nothing automatically radical about either margins or minorities… some forms of plurality are radical, whereas others are as native to the free market as violence is to the United States” (p. 2).
He insists that political content matters more than formal characteristics like difference or hybridity.
Theoretical Terms/Concepts in “The Contradictions of Postmodernism” by Terry Eagleton
Term / Concept | Usage and Explanation in the Article |
Postmodernism | Described as both radical and conservative. It mirrors the fluidity of capitalism while claiming to oppose it: “The answer to the question of whether postmodernism is radical or conservative can only be a firm yes and no.” |
Culturalism | Critiqued as a reductive doctrine that overemphasizes cultural construction and downplays material commonalities: “Culturalism inflates the importance of what is constructed… as against what human beings have in common as natural material animals.” |
Historicism | Not inherently radical. Conservatives also use history to support their ideologies: “Much historicism in Europe has been firmly in possession of political conservatism.” |
Commodity Form | Cultural production is now fully embedded in capitalist commodity exchange: “Cultural production rejoins general production… now thoroughly under the sway of the commodity form.” |
Enlightenment | Treated dialectically—both as a source of emancipation and oppression. Postmodernism discards it, but Eagleton suggests salvaging its positive aspects through socialism. |
Ideology | Not always based on naturalization. Ideological positions may be openly constructed and contingent: “One can be a doughty defender of capitalism or Stalinism without suffering from the delusion that things were always like that.” |
Pluralism / Difference | Difference is not automatically radical. Market capitalism thrives on certain types of pluralism: “Some forms of plurality are radical, whereas others are as native to the free market as violence is to the United States.” |
Epistemology | Used to critique thinkers like Stanley Fish and Richard Rorty, who tie relativist knowledge frameworks to conservative or liberal politics. |
Naturalizing | Postmodernists mistake all appeals to nature as ideological, forgetting that Enlightenment radicalism used nature as a leveling force: “They have demonized all appeals to the natural as insidiously naturalizing.” |
Superstructure / Base | Revisits Marxist theory to show how capitalist economies require ideological superstructures to justify themselves: “Their ideological superstructures… will need to insist upon absolute values.” |
Use-value vs Exchange-value | Once oppositional, art is now commodified, mimicking exchange-value: “The art… turns out to be just another modality of [exchange-value].” |
Stageist Theory | Critiqued as Eurocentric and impractical. Suggests China must experience modernity before postmodernity, which Eagleton views as problematic: “Stageist theories are always a little suspect.” |
Modernity / Premodernity | Describes the transition from traditional societies to modern capitalism and then postmodern integration of the symbolic with the economic. |
Liberal Humanism | Seen as outdated; it once offered utopian cultural ideals, but now fails to respond to the commodification of culture: “That faith… bred a generously Utopian lineage along with a perilously mystifying one.” |
Contribution of “The Contradictions of Postmodernism” by Terry Eagleton to Literary Theory/Theories
🔴 Contribution to Marxist Literary Theory
Eagleton reasserts Marxist materialism within cultural critique, arguing that postmodernism’s relativism masks deep structural contradictions of capitalism. He revives base-superstructure analysis, noting:
“The more market forces level all distinct value and identity… the more their ideological superstructures… will need to insist… upon absolute values and immutable standards” (p. 5).
✅ Impact: Refocuses Marxist literary theory on economic determinism beneath postmodern cultural pluralism.
🟢 Critique of Postmodern Literary Theory
He delivers a foundational critique of postmodernism’s claims to radicalism, showing it to be structurally aligned with the logic of the capitalist marketplace:
“Postmodernism is both radical and conservative together… miming the logic of the capitalist marketplace itself” (p. 5).
✅ Impact: Challenges the postmodern celebration of fragmentation and multiplicity as inherently emancipatory.
🔵 Intervention in Cultural Studies
Eagleton critiques culturalism—a core tenet in cultural studies—for its overemphasis on constructed identity and neglect of material realities:
“Culturalism inflates the importance of what is constructed, coded, conventional… as against what human beings have in common as natural material animals” (p. 1).
✅ Impact: Warns literary theorists against reducing all analysis to cultural codes, advocating instead for materialist grounding.
🟣 Contribution to Historicism Debates
He critiques both radical and conservative uses of historicism, disrupting the idea that historical contextualization is always politically progressive:
“Much historicism in Europe has been firmly in possession of political conservatism” (p. 2).
✅ Impact: Complicates the assumption within literary theory that historicizing texts naturally produces critical or emancipatory readings.
🟡 Engagement with Ideology Critique
Refines the role of ideology in literary and cultural texts—not all ideologies operate by naturalizing the present:
“One can be a doughty defender of capitalism or Stalinism without suffering from the delusion that things were always like that” (p. 2).
✅ Impact: Challenges literary critics to look beyond simplistic views of ideology as merely “false consciousness.”
🟠 Revision of Enlightenment Narratives
He offers a dialectical take on Enlightenment—neither wholly dismissed nor blindly embraced—urging theorists to retain its emancipatory goals:
“The doctrine which has traditionally tried to redeem the positive kernel of Enlightenment… is known as socialism” (p. 6).
✅ Impact: Encourages reevaluation of Enlightenment values within postmodern literary theory rather than total rejection.
🟤 Critique of Liberal Humanism in Literary Studies
Questions the viability of liberal humanism as a mediating force in literary meaning, particularly in an era when culture itself is commodified:
“It is clearly much harder to sustain [liberal humanism] once culture… becomes part of the very terms in which political interests articulate themselves” (p. 4).
✅ Impact: Pushes literary theorists to move beyond humanist ideals and confront ideological embeddedness of culture.
⚫ Global Contextualization of Literary Theory
By discussing China and postmodernism, Eagleton highlights the limitations of exporting Western literary theory uncritically:
“Western postmodern theory has arrived along with the latest shipment of Coca-Cola” (p. 6).
✅ Impact: Sparks reflection on cultural imperialism in the global spread of Western literary and cultural theories.
Examples of Critiques Through “The Contradictions of Postmodernism” by Terry Eagleton
Literary Work | Critique through Eagleton’s Lens |
Don DeLillo – White Noise | Reflects postmodernism’s obsession with surface, consumerism, and media simulation. Eagleton would critique it as a cultural product that critiques the system while also mimicking it: “Culture becomes part of the very terms in which political interests articulate themselves” (p. 4). |
Jeanette Winterson – Written on the Body | Embodies the postmodern celebration of fluid identity and indeterminate meaning. Eagleton would question the political efficacy of such plurality: “Some forms of plurality are radical, whereas others are as native to the free market as violence is to the United States” (p. 2). |
Bret Easton Ellis – American Psycho | Illustrates the collapse of moral and aesthetic values in late capitalism. Eagleton would view its stylized violence and commodified bodies as a symptom of culture under the sway of commodity logic: “The art… turns out to be just another modality of [exchange-value]” (p. 3). |
Arundhati Roy – The God of Small Things | While addressing postcolonial and cultural identities, Eagleton might caution against reading cultural difference as inherently subversive, warning: “Postmodernism… is now actively contributing to the remorseless cultural homogenization of the globe” (p. 6). |
Criticism Against “The Contradictions of Postmodernism” by Terry Eagleton
🔴 ⚖️ Over-Reliance on Marxist Framework
Critics argue that Eagleton overemphasizes economic determinism, filtering all cultural critique through a Marxist lens. This can downplay other axes of identity like race, gender, and sexuality, which postmodernism often foregrounds in nuanced ways.
🟢 🌐 Dismissive of Cultural Difference
Eagleton critiques culturalism and plurality as often serving capitalism, but this risks undermining legitimate struggles for identity, visibility, and representation. His suspicion of difference may seem to dismiss minority or postcolonial voices seeking recognition.
🔵 🔁 Binary Framing of Radical vs. Conservative
By arguing that postmodernism is both radical and conservative, some readers feel Eagleton sets up a reductive binary that glosses over the productive tensions and ambivalences within postmodern thought itself.
🟣 📚 Lack of Engagement with Postmodern Literary Texts
The essay offers a sweeping philosophical critique but rarely engages directly with specific literary works or genres associated with postmodernism (e.g., metafiction, magical realism, cyberpunk), which can make the argument feel too abstract or generalized.
🟡 🗺️ Eurocentric Perspective
Even while critiquing Western theory’s imposition on places like China, Eagleton’s tone and arguments still emerge from a European intellectual tradition, and he fails to fully engage non-Western theoretical perspectives on postmodernity and culture.
🟠 🧩 Reduction of Postmodernism to Capitalist Logic
By linking postmodernism too closely with consumer capitalism, Eagleton arguably ignores its subversive aesthetic contributions, such as narrative innovation, language play, and anti-foundational critique, which have expanded literary possibilities.
⚫ 💭 Idealization of Enlightenment/Socialism
Eagleton’s call to salvage the “positive kernel” of Enlightenment and socialism may come across as nostalgic or idealized, especially to readers skeptical of both traditions’ imperialistic or exclusionary histories.
🟤 📉 Limited Impact on Literary Formalism
Although Eagleton critiques liberal humanism and culturalism, some critics note that he doesn’t offer a concrete framework for analyzing literary form, leaving theorists without a clear method for textual interpretation.
Representative Quotations from “The Contradictions of Postmodernism” by Terry Eagleton with Explanation
Quotation | Explanation |
1. “Postmodernism is both radical and conservative together… miming the logic of the capitalist marketplace itself.” | Captures the central paradox of postmodernism: it critiques dominant ideologies while reproducing their economic logic. |
2. “Culturalism inflates the importance of what is constructed… as against what human beings have in common as natural material animals.” | Eagleton critiques culturalism for ignoring shared material and biological conditions in favor of endless relativism. |
3. “There is nothing automatically radical about either margins or minorities.” | Challenges the assumption in postmodern theory that marginality is inherently subversive; calls for historical and political specificity. |
4. “The work of art… turns out to be just another modality of [exchange-value].” | A Marxist view of how art has been commodified under capitalism, losing its critical distance. |
5. “Today’s Western cultural left… have demonized all appeals to the natural as insidiously naturalizing.” | Eagleton criticizes the cultural left for forgetting that Enlightenment appeals to nature were once radical and universalizing. |
6. “Historicizing is by no means inherently radical either.” | He challenges historicism as a default progressive method, arguing that conservatives also use historical narratives. |
7. “Culture becomes part of the very terms in which political interests articulate themselves.” | Culture is no longer a neutral or alternative space but deeply entangled in power and ideology. |
8. “Western postmodern theory has arrived along with the latest shipment of Coca-Cola.” | A biting comment on how postmodern thought often accompanies cultural imperialism and global capitalism. |
9. “The more market forces level all distinct value and identity… the more their ideological superstructures will need to insist… upon absolute values.” | Eagleton describes how capitalism paradoxically promotes relativism while demanding ideological rigidity. |
10. “All one can perhaps point out is… the important issues are most certainly not in the first place ‘cultural.'” | He concludes by emphasizing that political and economic struggles—not culture—should remain the central concern. |
Suggested Readings: “The Contradictions of Postmodernism” by Terry Eagleton
- Eagleton, Terry. “The Contradictions of Postmodernism.” New Literary History, vol. 28, no. 1, 1997, pp. 1–6. JSTOR, http://www.jstor.org/stable/20057396. Accessed 2 Apr. 2025.
- Hutcheon, Linda. “From A Poetics of Postmodernism (1988).” Postmodernism and the Contemporary Novel: A Reader, edited by Bran Nicol, Edinburgh University Press, 2002, pp. 301–19. JSTOR, http://www.jstor.org/stable/10.3366/j.ctvxcrmf5.28. Accessed 2 Apr. 2025.
- Griffith, Robert. “The Cultural Turn in Cold War Studies.” Reviews in American History, vol. 29, no. 1, 2001, pp. 150–57. JSTOR, http://www.jstor.org/stable/30031041. Accessed 2 Apr. 2025.