35. The Dialogic Imagination, trans. Michael Holquist (Austin: Univ. of Texas Press. 1981) p. 292. 36. Eagleton. Literary Theory, pp. 190-1. 37. Lucien Goldmann, Towards a Sociology of the Novel, trans. Alan Sheridan (1964; rpt. London : Tavistock, 1978); Eagleton, Myths of Power (London : Macmillan, 1975). 38. Pierre Macheray, A Theory of Literary Production, trans. Geoffrey Wall (1966; rpt. London : Routledge and Kegan Paul, 1978); Jameson, The Political Unconscious (London : Methuen. 1981). 39. Kevin McDonnell and Kevin Robins, "Marxist Cultural Theory", in One Dimensional Marxism. ed. Simon Clarke et al (London and N.Y. :Alison and Busbv, 1980). p.176. 40. In an 'Interview' by James H. Kavanagh and Thomas E. Lewis. Diacritics, 12 (Spring 1982). p. 55. 41. Jonathan Dollimore, "Politics Teaching History", LTP, 2 (1983), pp. 108-19. 42. Catherine Belsey, Critical Practice (London : Methuen, 1980); Tony Bennett, "Text and History" in Re-Reading English, ed. Peter Widdowson (London : Methuen, 1982). pp.223-36. 43. Derrida's phrase, from The Structuralist Controversy, p. 271. 44. Peter Stallybrass, "Rethinking Text and History", LTP, 2 (1983), pp.96-7. 45. Edward Said, "The Problem of Textuality: Two Exemplary Positions". Critical Inquiry, 4 iv (Summer 1978), p. 703. 46. Lenin and Philosophy (London : New Left Books, 1971), p. 153. 47 Darko Suvin, Metamorphoses of'Science Fiction : On the Poetics and History of a Literary Genre(Lon-don and New Haven : Yale Univ. Press, 1979); Janet Wolff, The Social Production of Art (London : Macmillan, 1981); Allon White, The Uses of Obscurity (London: Routledge and Kegan Paul. 1981). 48. Hayden White, "The Question of Narrative in Contemporary Historical Theory", History and Theory, 23 i(1984), pp. 1-33. 49. Deconstruction. p. 83. 50. (London : Routledge and Kegan Paul, 1978). 51. Michael Green, "The Centre for Contemporary Cultural Studies", Re-Reading English, pp. 77-90; Said. "Opponents, Audiences, Constituencies and Community", The Anti-Aesthetic, pp. 135-59; Williams, "Beyond Cambridge English", Writing, pp. 212-26; Eagleton, Literary Theory, pp. 194-217. 52. The Anti-Aesthetic, ibid. 53. For example Michele Barrett, Women's Oppression Today (London : Verso, 1980), pp. 95-6. 54. McDonnell and Robins, 'One-Dimensional Marxism, p.200. 55. Peter Brooker, "Post-Structuralism, Reading and the Crisis in English", Re-Reading English, pp. 61-76; Anderson, In the Tracks of Historical Materialism. 56. Fredric Jameson in "Postmodernism and Consumer Society" shows how the modernist aesthetic was "organically linked to the concept of a unique self and private identity' (The Anti-Aesthetic, p. 114). 57. I would tend to disagree with Jameson in the above-mentioned essay that post-modernism is the result of a new economic order and makes a sharp break with modernism. There is no decisive shift in the mode of production and a distinct historical and ideological continuity between the two. 58. Frank Kermode, The Sense of an Ending (N.Y.: Oxford Univ. Press, 1967); Renato Poggioli, The Theory oftheAvant-Garde, trans. Gerald Fitzgerald (1962; rpt. Cambridge and London : Harvard Univ. Press, 1968). 76 July-September 1984