Fredric Jameson – författare

För drygt trettio år sedan publicerades Jean-François Lyotards La condition postmoderne, där frågan ställdes om innebörden i arvet från upplysningen. Ska det postmoderna förstås som ett brott med dess rationalitet och universalism, eller som en fortsättning och radikalisering av dess självkritik? Lyotards idé om ett postmodernt brott kom att kritiseras av bland andra Jürgen Habermas för vilken upplysningen var ett projekt som förvisso hade sin baksida, men som i grunden borde försvaras. Fredric Jameson utvecklade därefter begreppet postmodernism i en annan riktning – som ett uttryck för senkapitalismens kulturella logik. Debatten kom att röra sig från filosofi och politisk teori till bildkonst, litteratur, dans och arkitektur, från diskussioner om subjektet och språket till kultursociologiska analyser om skillnaden mellan högt och lågt inom kulturen. Vår egen samtid är på många sätt präglad av detta högst kontroversiella arv, men dess innebörd är likväl långt ifrån klar. Vad var det postmoderna? Vilka var debattens historiska förutsättningar? Kan vi idag formulera dessa problem så att de fortfarande är relevanta?

-- The Nation

‘Every now and then a book appears which is literally ahead of its time ... The Political Unconscious is such a book ... it sets new standards of what a classic work is.’ – Slavoj ZizekIn this ground-breaking and influential study, Fredric Jameson explores the complex place and function of literature within culture. A landmark publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century. First published: 1983.

In this ground-breaking and influential study Fredric Jameson explores the complex place and function of literature within culture. At the time Jameson was actually writing the book, in the mid to late seventies, there was a major reaction against deconstruction and poststructuralism. As one of the most significant literary theorists, Jameson found himself in the unenviable position of wanting to defend his intellectual past yet keep an eye on the future. With this book he carried it off beautifully. A landmark publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century.century.

In such celebrated works as Postmodernism: The Cultural Logic of Late Capitalism, Fredric Jameson has established himself as one of America’s most observant cultural commentators. In Signatures of the Visible, Jameson turns his attention to cinema - the artform that has replaced the novel as the defining cultural form of our time. Historicizing a form that has flourished in a post-modern and anti-historical culture, he explores the allegorical and ideological dimensions of such films as The Shining, Dog Day Afternoon and the works of Alfred Hitchcock, among many others. Fifteen years on from its original publication, this remains a piercing and original analysis of film from a writer and thinker whose influence continues to be felt long after that of the fashionable post-modernists he has always critiqued.

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'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.

An influential introduction to Marxist cultural criticism by the acclaimed literary theoristIn Marxism and Form, Fredric Jameson, one of the most important literary and cultural critics of the twentieth and twenty-first centuries, offers a pioneering look at major European Marxist and Frankfurt School thinkers—Adorno, Benjamin, Marcuse, Bloch, Lukács, and Sartre. Through penetrating readings, Jameson develops an influential mode of critical engagement that places art and culture at the heart of Marxist theory. The result lays the foundations for the entirety of Jameson’s monumental critical project—and remains a timely and vital work of aesthetic criticism for readers today.

A groundbreaking critical introduction to Structuralism and Russian Formalism by the acclaimed literary theoristIn The Prison-House of Language, Fredric Jameson, one of the most important literary and cultural critics of the twentieth and twenty-first centuries, provides a thorough historical and philosophical introduction to Structuralism and Russian Formalism. Combining a survey of these influential critical movements and a critique of their methodology, Jameson lays bare their presuppositions, questioning whether the methods of Saussurean linguistics can adequately capture the concrete realities of time and history. The result is a unique and thought-provoking confrontation of two major strands of modern thought and a central work in the development of Jameson’s monumental critical project.

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.

Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry 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.

A pervasive force that evades easy analysis, globalization has come to represent the export and import of culture, the speed and intensity of which has increased to unprecedented levels in recent years. The Cultures of Globalization presents an international panel of intellectuals who consider the process of globalization as it concerns the transformation of the economic into the cultural and vice versa; the rise of consumer culture around the world; the production and cancellation of forms of subjectivity; and the challenges it presents to national identity, local culture, and traditional forms of everyday life. Discussing overlapping themes of transnational consequence, the contributors to this volume describe how the global character of technology, communication networks, consumer culture, intellectual discourse, the arts, and mass entertainment have all been affected by recent worldwide trends. Appropriate to such diversity of material, the authors approach their topics from a variety of theoretical perspectives, including those of linguistics, sociology, economics, anthropology, and the law. Essays examine such topics as free trade, capitalism, the North and South, Eurocentrism, language migration, art and cinema, social fragmentation, sovereignty and nationhood, higher education, environmental justice, wealth and poverty, transnational corporations, and global culture. Bridging the spheres of economic, political, and cultural inquiry, The Cultures of Globalization offers crucial insights into many of the most significant changes occurring in today’s world. Contributors. Noam Chomsky, Ioan Davies, Manthia Diawara, Enrique Dussel, David Harvey, Sherif Hetata, Fredric Jameson, Geeta Kapur, Liu Kang, Joan Martinez-Alier, Masao Miyoshi, Walter D. Mignolo, Alberto Moreiras, Paik Nak-chung, Leslie Sklair, Subramani, Barbara Trent

Fredric Jameson is one of the most influential literary and cultural critics writing today. He is a theoretical innovator whose ideas about the intersections of politics and culture have reshaped the critical landscape across the humanities and social sciences. Bringing together ten interviews conducted between 1982 and 2005, Jameson on Jameson is a compellingly candid introduction to his thought for those new to it, and a rich source of illumination and clarification for those seeking deeper understanding. Jameson discusses his intellectual and political preoccupations, most prominently his commitment to Marxism as a way of critiquing capitalism and the culture it has engendered. He explains many of his key concepts, including postmodernism, the dialectic, metacommentary, the political unconscious, the utopian, cognitive mapping, and spatialization.Jameson on Jameson displays Jameson’s extraordinary grasp of contemporary culture-architecture, art, cinema, literature, philosophy, politics, psychoanalysis, and urban geography-as well as the challenge that the geographic reach of his thinking poses to the Eurocentricity of the West. Conducted by accomplished scholars from United States, Egypt, Korea, China, Sweden, and England, the interviews elicit Jameson’s reflections on the broad international significance of his ideas and their applicability and implications in different cultural and political contexts, including the present phase of globalization.The volume includes an introduction by Jameson and a comprehensive bibliography of his publications in all languages.InterviewersMona Abousenna Abbas Al-TonsiSrinivas AravamudanJonathan CullerSara DaniusLeonard GreenSabry HafezStuart Hall Stefan JonssonRanjana KhannaRichard KleinHoracio MachinPaik Nak-chungMichael Speaks Anders StephansonXudong Zhang

In his most wide-ranging and accessible work, Fredric Jameson argues that postmodernism is the cultural response to the latest systemic change in world capitalism. He seeks here to crystallize a definition of a term which has taken on so many meanings that it has virtually lost all historical significance.He presents an extensive discussion on the cultural landscape-both 'high' and 'low'-of postmodernity, evaluating the political fortunes of the new term and surveying postmodern developments in a range of different fields-from market ideology to architecture, from painting and instalment art to contemporary punk film, from video art and high literature to deconstruction.Finally, Jameson revaluates the concept of postmodernism in light of postmodern critiques of totalization and historical narratives-from the notion of decadence to the dynamics of small groups, from religious fundamentalism to hi-tech science fiction-while touching on the nature of contemporary cultural critique and the possibilities of cognitive mapping in the present multinational world system.This provocative book will be fundamental to all future discussions of postmodernism.

In such celebrated works as Postmodernism: The Cultural Logic of Late Capitalism, Fredric Jameson has established himself as one of America’s most observant cultural commentators. In Signatures of the Visible, Jameson turns his attention to cinema - the artform that has replaced the novel as the defining cultural form of our time. Historicizing a form that has flourished in a post-modern and anti-historical culture, he explores the allegorical and ideological dimensions of such films as The Shining, Dog Day Afternoon and the works of Alfred Hitchcock, among many others. Fifteen years on from its original publication, this remains a piercing and original analysis of film from a writer and thinker whose influence continues to be felt long after that of the fashionable post-modernists he has always critiqued.

Antonio Gramsci's Prison Notebooks have offered concepts, categories, and political solutions that have been applied in a variety of social and political contexts, from postwar Italy to the insurgencies of the Arab Spring. The contributors to Gramsci in the World examine the diverse receptions and uses of Gramscian thought, highlighting its possibilities and limits for understanding and changing the world. Among other topics, they explore Gramsci's importance to Caribbean anticolonial thinkers like Stuart Hall, his presence in decolonial indigenous movements in the Andes, and his relevance to understanding the Chinese Left. The contributors consider why Gramsci has had relatively little impact in the United States while also showing how he was a major force in pushing Marxism beyond Europe-especially into the Arab world and other regions of the Global South. Rather than taking one interpretive position on Gramsci, the contributors demonstrate the ongoing relevance of his ideas to revolutionary theory and praxis.Contributors. Alberto Burgio, Cesare Casarino, Maria Elisa Cevasco, Kate Crehan, Roberto M. Dainotto, Michael Denning, Harry Harootunian, Fredric Jameson, R. A. Judy, Patrizia Manduchi, Andrea Scapolo, Peter D. Thomas, Catherine Walsh, Pu Wang, Cosimo Zene

Antonio Gramsci's Prison Notebooks have offered concepts, categories, and political solutions that have been applied in a variety of social and political contexts, from postwar Italy to the insurgencies of the Arab Spring. The contributors to Gramsci in the World examine the diverse receptions and uses of Gramscian thought, highlighting its possibilities and limits for understanding and changing the world. Among other topics, they explore Gramsci's importance to Caribbean anticolonial thinkers like Stuart Hall, his presence in decolonial indigenous movements in the Andes, and his relevance to understanding the Chinese Left. The contributors consider why Gramsci has had relatively little impact in the United States while also showing how he was a major force in pushing Marxism beyond Europe-especially into the Arab world and other regions of the Global South. Rather than taking one interpretive position on Gramsci, the contributors demonstrate the ongoing relevance of his ideas to revolutionary theory and praxis.Contributors. Alberto Burgio, Cesare Casarino, Maria Elisa Cevasco, Kate Crehan, Roberto M. Dainotto, Michael Denning, Harry Harootunian, Fredric Jameson, R. A. Judy, Patrizia Manduchi, Andrea Scapolo, Peter D. Thomas, Catherine Walsh, Pu Wang, Cosimo Zene

The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this intervention, Fredric Jameson-perhaps the most influential and persuasive theorist of postmodernity-excavates 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 terms-which can probably not be banished at this late date-helps us clarify our present political and artistic situations.

Representing Capital, Fredric Jameson's first book-length engagement with Marx's magnum opus, is a unique work of scholarship that records the progression of Marx's 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 of the 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. 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.

Raymond 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.

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.

The Modernist Papers is a tour de force of analysis 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 the work of Baudelaire, Rimbaud, Mallarmé, Wallace Stevens, Joyce, Proust and Thomas Mann. He explores the peculiarities 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 understandings of the literature of this period, this monumental work will come to be regarded as the classic study of modernism.

The Benjamin Files offers a comprehensive new reading of all of Benjamin's major works and a great number of his shorter book reviews, notes and letters. Its premise is that Benjamin was an anti-philosophical, anti-systematic thinker whose conceptual interests also felt the gravitational pull of his vocation as a writer. What resulted was a coexistence or variety of language fields and thematic codes which overlapped and often seemed to contradict each other: a view which will allow us to clarify the much-debated tension in his works between the mystical or theological side of Benjamin and his political or historical inclination. The three-way tug of war over his heritage between adherents of his friends Scholem, Adorno and Brecht, can also be better grasped from this position, which gives the Brechtian standpoint more due than most influential academic studies. Benjamin's corpus is an anticipation of contemporary theory in the priority it gives language and representation over philosophical or conceptual unity; and its political motivations are clarified by attention to the omnipresence of History throughout his writing, from the shortest articles to the most ambitious projects. His explicit program - "to transfer the crisis into the heart of language" or, in other words, to detect class struggle at work in the most minute literary phenomena - requires the reader to translate the linguistic or representational literary issues that concerned him back into the omnipresent but often only implicitly political ones. But the latter are those of another era, to which we must gain access, to use one of Benjamin's favorite expressions.

Fredric Jameson's pathbreaking essay "An American Utopia" radically questions standard leftist notions of what constitutes an emancipated society. Advocated here are-among other things-universal 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 pages-there will be blood! But perhaps one has to spill such (ideological) blood to give the Left a chance.