Dialectical Narrative and Ideological Critique in Terry Eagleton’s Disappearances
Abstract
Terry Eagleton’s Disappearances represents a significant innovation in modern dramatic narration. By structuring its narrative around a dialectical (thesis-antithesis-synthesis) framework infused with ideology, the play creates a subversive movement between surface and deep narrative layers. Through this narrative practice, Eagleton not only enriches theatrical form by opening a nuanced space for ideological discourse but also offers a profound Western Marxist critique of the paths to individual emancipation.
References
Marx K, 1873, Capital (Volume One), translated by Ben Fowkes. Penguin Books, London, 103.
Jameson F, 1971, Marxism and Form: Twentieth-Century Dialectical Theories of Literature. Princeton UP, Princeton, 307.
Eagleton T, 1991, Ideology: An Introduction. Verso, London, 10.
Brecht B, 1964, Brecht on Theatre: The Development of an Aesthetic, edited and translated by John Wille. Hill and Wang, New York, 235.
Eagleton T, 1997, Saint Oscar and Other Plays. Blackwell Publishers, Oxford.
Eagleton T, 1990, The Ideology of the Aesthetic. Blackwell Publishing LTD, Oxford, 147.
Bakhtin MM, 1981, The Dialogic Imagination, translated by Caryl Emerson and Michael Holquist. University of Texas Press, Austin, 345 + 349–350.
Eagleton T, 2018, Radical Sacrifice. Yale University Press, New Haven, 81.
Goldmann L, 1980, Essays on Method in the Sociology of Literature, translated and edited by William Q. Telos Press, Boelhower, 83.
Jameson F, 1981, The Political Unconsciousness. Cornell University, New York, 147.
Jameson F, 1991, Postmodernism, or, The Cultural Logic of Late Capitalism. Verso, London, 412.
Marx K, 1859, A Contribution to the Critique of Political Economy. International Publishers, New York, 10–11.
Eagleton T, 2003, Sweet Violence. Blackwell Publishing, Oxford, 279.
