Bøger af Fredric Jameson

Jameson's study of the cultural, political and social implications of postmodernism.

Master philosopher and cultural theorist tackles the founder of modern dialecticsIn this major new study, the philosopher and cultural theorist Fredric Jameson offers a new reading of Hegel's foundational text Phenomenology of Spirit.In contrast to those who see the Phenomenology as a closed system ending with Absolute Spirit, Jameson's reading presents an open work in which Hegel has not yet reconstituted himself in terms of a systematic philosophy (Hegelianism) and in which the moments of the dialectic and its levels have not yet been formalized. Hegel's text executes a dazzling variety of changes on conceptual relationships, in terms with are never allowed to freeze over and become reified in purely philosophical named concepts. The ending, on the aftermath of the French Revolution, is interpreted by Jameson, contra Fukuyama's ';end of history,' as a provisional stalemate between the political and the social, which is here extrapolated to our own time.

Legendary lectures on the major figures of French theory from 'America’s leading Marxist critic'

The giant of literary theory analyzes the novel: Conrad, James, Atwood, Oe, Mailer, Grass, Grossman, Garcia Márquez, Gibson, Knausgaard and more

Mimesis, Expression, Construction brings Fredric Jameson's famous Duke University seminar on Adorno’s Aesthetic Theory into print for the first time.Transcribed and edited from audio recordings taken by Octavian Esanu of the original seminar at Duke University in 2003, Mimesis, Expression, Construction reproduces Jameson and his students' engagement with Aesthetic Theory, one of the most influential theories of modernist aesthetics.The first and only published record of Jameson's teaching and pedagogic style, the seminar delves into modern and modernist aesthetics through the perspectives of Kant, Hegel, Freud, Schopenhauer, and Nietzsche; Benjamin and other members of the Frankfurt School; the literary works of Thomas Mann and Samuel Beckett; the music of Schoenberg, Webern and Berg; the films of Chaplin, Vertov and Eisenstein; the aesthetic implications of psychoanalysis and biblical exegesis; classical music; and more.Presented in the format of a play, with stage setting, student interruptions and exchanges, interjections, auditory noises, and ambient sounds, and complemented with scans of students' notes, Mimesis, Expression, Construction is a groundbreaking addition to the work of one of the greatest modern cultural critics.

"La cultura es el halo que un grupo percibe cuando entra en contacto y observa a otro". No se puede entender la cultura sin el otro, igual que no es posible entenderse a uno mismo sin lo ajeno. Lo complicado es ser capaz de visibilizar lo ajeno, lo marginado, en un mundo que cambia más rápido de lo que se narra; que genera desigualdades al vertiginoso ritmo del progreso.Fredric Jameson, una de las mejores plumas de nuestro tiempo, logra hacer confluir teoría política y crítica literaria. Conecta lo académico con lo cotidiano, enmarcando todo proceso simbólico en estructuras de poder que deben ser desnaturalizadas.Ningún estudioso de la literatura iguala la versatilidad, la erudición enciclopédica, el brío imaginativo o la prodigiosa energía intelectual de Jameson, emergiendo como alguien venido de un pasado cultural de mayor grandeza, un refugiado de la era de Shklovsky y Auerbach, Jakobson y Barthes, que sin embargo sigue siendo absolutamente contemporáneo. Terry Eagleton(Crítico literario y de la cultura británico)

L'antiestetica è la base fondante, motivo per cui questo libro non solo diventa la "bibbia del postmoderno" sul quale si formano centinaia di ricercatori negli atenei americani, ma è un tassello importante per capire gli sviluppi successivi del suo pensiero e dell'attività critica del gruppo di "October". Con "L'antiestetica" Hal Foster chiama a raccolta critici autorevoli - Jürgen Habermas, Jean Baudrillard, Kenneth Frampton, Rosalind Krauss, Douglas Crimp, Craig Owens, Gregory L. Ulmer, Fredric Jameson, e Edward W. Said - con lo scopo di investigare sull'intera gamma della produzione culturale postmoderna.

The master of literary theory takes on the master of the detective novelRaymond Chandler, a dazzling stylist and portrayer of American life, holds a unique place in literary history, straddling both pulp fiction and modernism. With The Big Sleep, published in 1939, he left an indelible imprint on the detective novel. Fredric Jameson offers an interpretation of Chandler's work that reconstructs both the context in which it was written and the social world or totality it projects. Chandler's invariable setting, Los Angeles, appears both as a microcosm of the United States and a prefiguration of its future: a megalopolis uniquely distributed by an unpromising nature into a variety of distinct neighborhoods and private worlds. But this essentially urban and spatial work seems also to be drawn towards a vacuum, an absence that is nothing other than death. With Chandler, the thriller genre becomes metaphysical.

Jameson's first full-length engagement with Walter Benjamin's work

Jameson's classic study of German playwright Bertolt Brecht

Investigates the development of the Utopian form since Thomas More, and interrogates the functions of Utopian thinking in a post-Communist age. This book also explores the relationship between utopia and science fiction through the representations of otherness and a study of the works of Philip Dick, Ursula LeGuin, William Gibson and others.

Fredric Jameson's survey of Structuralism and Russian Formalism is, at the same time, a critique of their basic methodology. He lays bare the presuppositions of the two movements, clarifying the relationship between the synchronic methods of Saussurean linguistics and the realities of time and history.

A comprehensive analysis of the philosophy of the dialectic by the doyen of cultural criticism.

The novels of Wyndham Lewis have generally been associated with the work of the great modernists - Joyce, Pound, Eliot, Yeats - who were his sometime friends and collaborators. This book proposes a framework in which Lewis' explosive language practice can be grasped as a symbolic and political act.

Fredric Jameson is one of the influential literary and cultural critics writing. His ideas about the intersections of politics and culture have reshaped the critical landscape across the humanities and social sciences. This book discusses his intellectual and political preoccupations, his commitment to Marxism and the culture it has engendered.

This ground-breaking and influential study explores the complex place and function of literature within culture. It takes its place as one of the most meaningful works of the twentieth century.

For more than thirty years, Fredric Jameson has been one of the most productive, wide-ranging, and distinctive literary theorists in the United States and the Anglophone world. Marxism and Form provided a pioneering account of the work of the major European Marxist theorists--T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Lukacs, and Jean-Paul Sartre--work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous in.uence. He provided a framework for analyzing the connection between art and the historical circumstances of its making--in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form. Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism. One year after Marxism and Form, Princeton published Jameson's The Prison-House of Language (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.

Fredric Jameson sweeps from the Renaissance to The Wire High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson's major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to The Wire, from ';Eurotrash' in opera to Altman and East German literature): all of which attempt, in their different ways, to invent new forms to grasp a specific social totality. Throughout the historical periods, argues Jameson, the question of narrative persists through its multiple formal changes and metamorphoses.

Representing Capital, Fredric Jamesons first book-length engagement with Marxs magnum opus, is a unique work of scholarship that records the progression of Marxs thought as if it were a musical score. The textual landscape that emerges is the setting for paradoxes and contradictions that struggle toward resolution, giving rise to new antinomies and a new forward movement. These immense segments overlap each other to combine and develop on new levels in the same way that capital itself does, stumbling against obstacles that it overcomes by progressive expansions, which are in themselves so many leaps into the unknown.

The Antinomies of Realism is a history ofthe nineteenth-century realist novel and its legacy told without a glimmer of nostalgia for artistic achievements that the movement of history makes it impossible to recreate. The works of Zola, Tolstoy, Perez Galdos, and George Eliot are in the most profound sense inimitable, yet continue to dominate the novel form to this day. Novels to emerge since struggle to reconcile the social conditions of their own creation with the history of this mode of writing: the so-called modernist novel is one attempted solution to this conflict, as is the ever-more impoverished variety of commercial narrativeswhat today's book reviewers dub ';serious novels,' which are an attempt at the impossible endeavor to roll back the past. Fredric Jameson examines the most influential theories of artistic and literary realism, approaching the subject himself in terms of the social and historical preconditions for realism's emergence. The realist novel combined an attention to the body and its states of feeling with a focus on the quest for individual realization within the confines of history.In contemporary writing, other forms of representation for which the term ';postmodern' is too glibhave become visible: for example, in the historical fiction of Hilary Mantel or the stylistic plurality of David Mitchell's novels. Contemporary fiction is shown to be conducting startling experiments in the representation of new realities of a global social totality, modern technological warfare, and historical developments that, although they saturate every corner of our lives, only become apparent on rare occasions and by way of the strangest formal and artistic devices.In a coda, Jameson explains how ';realistic' narratives survived the end of classical realism. In effect, he provides an argument for the serious study of popular fiction and mass culture that transcends lazy journalism and the easy platitudes of recent cultural studies.

The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this intervention, Fredric Jamesonperhaps the most influential and persuasive theorist of postmodernityexcavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive ';modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well.In this major interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both termswhich can probably not be banished at this late datehelps us clarify our present political and artistic situations.

Controversial manifesto by acclaimed cultural theorist debated by leading writers Fredric Jameson's pathbreaking essay ';An American Utopia' radically questions standard leftist notions of what constitutes an emancipated society. Advocated here areamong other thingsuniversal conscription, the full acknowledgment of envy and resentment as a fundamental challenge to any communist society, and the acceptance that the division between work and leisure cannot be overcome. To create a new world, we must first change the way we envision the world. Jameson's text is ideally placed to trigger a debate on the alternatives to global capitalism. In addition to Jameson's essay, the volume includes responses from philosophers and political and cultural analysts, as well as an epilogue from Jameson himself. Many will be appalled at what they will encounter in these pagesthere will be blood! But perhaps one has to spill such (ideological) blood to give the Left a chance. Contributing are Kim Stanley Robinson, Jodi Dean, Saroj Giri, Agon Hamza, Kojin Karatani, Frank Ruda, Alberto Toscano, Kathi Weeks, and Slavoj iek.

Cultural critic Fredric Jameson, renowned for his incisive studies of the passage of modernism to postmodernism, returns to the movement that dramatically broke with all tradition in search of progress for the first time since his acclaimed A Singular Modernity .The Modernist Papers is a tour de froce of anlysis and criticism, in which Jameson brings his dynamic and acute thought to bear on the modernist literature of the nineteenth and twentieth centuries. Jameson discusses modernist poetics, including intensive discussions of the work of Baudelaire, Rimbaud, Mallarm, Wallace Stevens, Joyce, Proust, and Thomas Mann. He explores the peculiarties of the American literary field, taking in William Carlos Williams and the American epic, and examines the language theories of Gertrude Stein. Refusing to see modernism as simply a Western phenomenon he also pays close attention to its Japanese expression; while the complexities of a late modernist representation of twentieth-century politics are articulated in a concluding section on Peter Weiss’s novel The Aesthetics of Resistance.Challenging our previous understanding of the literature of this pperiod, this monumental work will come to be regarded as the classic study of modernism.

A collection of theoretical essays which were composed under a particular set of constraints - the need to explain the Marxist intellectual tradition within the bounds of literary criticism - thereby enlarging the conception of the literary text.

This wide-ranging work seeks to crystallize a definition of postmodernism. The author looks at the postmodern across a wide landscape, from high art to low; from market ideology to architecture, from painting to punk; film, from video art to literature.

Fredric Jameson, in The Political Unconscious, opposes the view that literary creation can take place in isolation from its political context. He asserts the priority of the political interpretation of literary texts, claiming it to be at the center of all reading and understanding, not just a supplement or auxiliary to other methods current today.Jameson supports his thesis by looking closely at the nature of interpretation. Our understanding, he says, is colored by the concepts and categories that we inherit from our culture''s interpretive tradition and that we use to comprehend what we read. How then can the literature of other ages be understood by readers from a present that is culturally so different from the past? Marxism lies at the foundation of Jameson''s answer, because it conceives of history as a single collective narrative that links past and present; Marxist literary criticism reveals the unity of that uninterrupted narrative.Jameson applies his interpretive theory to nineteenth- and twentieth-century texts, including the works of Balzac, Gissing, and Conrad. Throughout, he considers other interpretive approaches to the works he discusses, assessing the importance and limitations of methods as different as Lacanian psychoanalysis, semiotics, dialectical analysis, and allegorical readings. The book as a whole raises directly issues that have been only implicit in Jameson''s earlier work, namely the relationship between dialectics and structuralism, and the tension between the German and the French aesthetic traditions.The Political Unconscious is a masterly introduction to both the method and the practice of Marxist criticism. Defining a mode of criticism and applying it successfully to individual works, it bridges the gap between theoretical speculation and textual analysis.

Written by the author of "Postmodernism: The Cultural Logic of Late Capitalism", this book explores film and film culture through the relationship between the imaginative world on screen and the historical world onto which it is projected.

In three parts, Jameson presents the postmodern problem of Utopia, attempting to diagnose the cultural present and to open a perspective on the future of a world that is all but impossible to predict with any certainty-"a telling of the future," as Jameson calls it, "with an imperfect deck."