Jameson is the Knut Schmidt-Nielsen Professor of Comparative Literature, Professor of Romance Studies (French), and Director of the Institute for Critical Theory at Duke University.[3] In 2012, the Modern Language Association gave Jameson its sixth Award for Lifetime Scholarly Achievement.[4]
Auerbach would prove to be a lasting influence on Jameson's thought. This was already apparent in Jameson's doctoral dissertation, published in 1961 as Sartre: the Origins of a Style. Auerbach's concerns were rooted in the German philological tradition; his works on the history of style analyzed literary form within social history. Jameson would follow in these steps, examining the articulation of poetry, history, philology, and philosophy in the works of Jean-Paul Sartre.
Jameson's work focused on the relation between the style of Sartre's writings and the political and ethical positions of his existentialist philosophy. The occasional Marxian aspects of Sartre's work were glossed over in this book; Jameson would return to them in the following decade.[8]:29–30
Jameson's dissertation, though it drew on a long tradition of European cultural analysis, differed markedly from the prevailing trends of Anglo-American academia (which were empiricism and logical positivism in philosophy and linguistics, and New Criticalformalism in literary criticism). It nevertheless earned Jameson a position at Harvard University, where he taught during the first half of the 1960s.
Research into Marxism
His interest in Sartre led Jameson to intense study of Marxist literary theory. Even though Karl Marx was becoming an important influence in American social science, partly through the influence of the many European intellectuals who had sought refuge from the Second World War in the United States, such as Theodor Adorno, the literary and critical work of the Western Marxists was still largely unknown in American academia in the late-1950s and early-1960s.[8]:120
While the Orthodox Marxist view of ideology held that the cultural "superstructure" was completely determined by the economic "base", the Western Marxists critically analyzed culture as a historical and social phenomenon alongside economic production and distribution or political power relationships. They held that culture must be studied using the Hegelian concept of immanent critique: the theory that adequate description and criticism of a philosophical or cultural text must be carried out in the same terms that text itself employs, in order to develop its internal inconsistencies in a manner that allows intellectual advancement. Marx highlighted immanent critique in his early writings, derived from Hegel's development of a new form of dialectical thinking that would attempt, as Jameson comments, "to lift itself mightily up by its own bootstraps".[11]
Narrative and history
History came to play an increasingly central role in Jameson's interpretation of both the reading (consumption) and writing (production) of literary texts. Jameson marked his full-fledged commitment to Hegelian-Marxist philosophy with the publication of The Political Unconscious: Narrative as a Socially Symbolic Act, the opening slogan of which is "always historicize" (1981). The Political Unconscious takes as its object not the literary text itself, but rather the interpretive frameworks by which it is now constructed. It emerges as a manifesto for new activity concerning literary narrative.
The book's argument emphasized history as the "ultimate horizon" of literary and cultural analysis. It borrowed notions from the structuralist tradition and from Raymond Williams's work in cultural studies, and joined them to a largely Marxist view of labor (whether blue-collar or intellectual) as the focal point of analysis. Jameson's readings exploited both the explicit formal and thematic choices of the writer and the unconscious framework guiding these. Artistic choices that were ordinarily viewed in purely aesthetic terms were recast in terms of historical literary practices and norms, in an attempt to develop a systematic inventory of the constraints they imposed on the artist as an individual creative subject. To further this meta-commentary, Jameson described the ideologeme, or "the smallest intelligible unit of the essentially antagonistic collective discourses of social classes", the smallest legible residue of the real-life, ongoing struggles occurring between social classes.[12] (The term "ideologeme" was first used by Mikhail Bakhtin and Pavel Nikolaevich Medvedev in their work The Formal Method in Literary Scholarship and was later popularised by Julia Kristeva. Kristeva defined it as "the intersection of a given textual arrangement ... with the utterances ... that it either assimilates into its own space or to which it refers in the space of exterior texts ...".[13])
Jameson's establishment of history as the only pertinent factor in this analysis, which derived the categories governing artistic production from their historical framework, was paired with a bold theoretical claim. His book claimed to establish Marxian literary criticism, centered in the notion of an artistic mode of production, as the most all-inclusive and comprehensive theoretical framework for understanding literature.[14] According to Vincent B. Leitch, the publication of The Political Unconscious "rendered Jameson the leading Marxist literary critic in America."[15]
Critique of postmodernism
In 1984, during his tenure as Professor of Literature and History of Consciousness at the University of California, Santa Cruz, Jameson published an article titled "Postmodernism, or, the Cultural Logic of Late Capitalism" in the journal New Left Review. This controversial article, which Jameson later expanded into a book, was part of a series of analyses of postmodernism from the dialectical perspective Jameson had developed in his earlier work on narrative. Jameson viewed the postmodern "skepticism towards metanarratives" as a "mode of experience" stemming from the conditions of intellectual labor imposed by the late capitalist mode of production.[further explanation needed]
Postmodernists claimed that the complex differentiation between "spheres" or fields of life (such as the political, the social, the cultural, the commercial), and between distinct social classes and roles within each field, had been overcome by the crisis of foundationalism and the consequent relativization of truth-claims. Jameson argued against this, asserting that these phenomena had or could have been understood successfully within a modernist framework; the postmodern failure to achieve this understanding implied an abrupt break in the dialectical refinement of thought.[citation needed]
In his view, postmodernity's merging of all discourse into an undifferentiated whole was the result of the colonization of the cultural sphere, which had retained at least partial autonomy during the prior modernist era, by a newly organized corporate capitalism. Following Adorno and Horkheimer's analysis of the culture industry, Jameson discussed this phenomenon in his critical discussion of architecture, film, narrative, and visual arts, as well as in his strictly philosophical work.
Two of Jameson's best-known claims from Postmodernism are that postmodernity is characterized by pastiche and a crisis in historicity. Jameson argued that parody (which implies a moral judgment or a comparison with societal norms) was replaced by pastiche (collage and other forms of juxtaposition without a normative grounding). Relatedly, Jameson argued that the postmodern era suffers from a crisis in historicity: "there no longer does seem to be any organic relationship between the American history we learn from schoolbooks and the lived experience of the current, multinational, high-rise, stagflated city of the newspapers and of our own everyday life".[16]
Jameson's analysis of postmodernism attempted to view it as historically grounded; he therefore explicitly rejected any moralistic opposition to postmodernity as a cultural phenomenon, and continued to insist upon a Hegelian immanent critique that would "think the cultural evolution of late capitalism dialectically, as catastrophe and progress all together".[17] His refusal to simply dismiss postmodernism from the onset, however, was misinterpreted by some Marxist intellectuals as an implicit endorsement of postmodern views.
Recent work
Jameson's later writings include Archaeologies of the Future, a study of utopia and science fiction, launched at Monash University in Melbourne, Australia, in December 2005, and The Modernist Papers (2007), a collection of essays on modernism that is meant to accompany the theoretical A Singular Modernity (2002) as a "source-book". These books, along with Postmodernism and The Antinomies of Realism (2013),[18] form part of an ongoing study entitled The Poetics of Social Forms, which attempts, in Sara Danius's words, to "provide a general history of aesthetic forms, at the same time seeking to show how this history can be read in tandem with a history of social and economic formations".[19] As of 2010, Jameson intends to supplement the already published volumes of The Poetics of Social Forms with a study of allegory entitled Overtones: The Harmonics of Allegory.[20]The Antinomies of Realism won the 2014 Truman Capote Award for Literary Criticism.[21]
Alongside this continuing project, he has recently published three related studies of dialectical theory: Valences of the Dialectic (2009), which includes Jameson's critical responses to Slavoj Žižek, Gilles Deleuze, and other contemporary theorists; The Hegel Variations (2010), a commentary on Hegel's Phenomenology of Spirit; and Representing Capital: A Reading of Volume One (2011), an analysis of Marx's Das Kapital.
An overview of Jameson's work, Fredric Jameson: Live Theory, by Ian Buchanan, was published in 2007.
Jameson has had an influence on the theorization of the postmodern in China. In mid-1985, shortly after the beginning of the cultural fever (early 1985 to June Fourth, 1989)—a period in Chinese intellectual history characterized in part by intense interest in Western critical theory, literary theory, and related disciplines[24]—Jameson discussed the idea of postmodernism in China in lectures at Peking University and the newly founded Shenzhen University.[25][26] Jameson's ideas as presented at Peking University had an impact on some students, including Zhang Yiwu and Zhang Xudong, scholars whose work would come to play an important role in the analysis of postmodernity in China.[27] In 1987 Jameson published a book entitled Postmodernism and Cultural Theories (Chinese:后现代主义与文化理论; pinyin:Hòuxiàndàizhǔyì yǔ wénhuà lǐlùn), translated into Chinese by Tang Xiaobing. Although the Chinese intelligentsia's engagement with postmodernism would not begin in earnest until the nineties, Postmodernism and Cultural Theories was to become a keystone text in that engagement; as scholar Wang Ning writes, its influence on Chinese thinkers would be impossible to overestimate.[26] Its popularity may be partially due to the facts that it was not written in a dense style and that, because of Jameson's writing style, it was possible to use the text to support either praise or criticism of the Chinese manifestation of postmodernity.[26] In Wang Chaohua's interpretation of events, Jameson's work was mostly used to support praise, in what amounted to a fundamental misreading of Jameson:
The caustic edge of Jameson's theory, which had described postmodernism as "the cultural logic of late capitalism," was abandoned for a contented or even enthusiastic endorsement of mass culture, which [a certain group of Chinese critics] saw as a new space of popular freedom. According to these critics, intellectuals, who conceived of themselves as the bearers of modernity, were reacting with shock and anxiety at their loss of control with the arrival of postmodern consumer society, uttering cries of "quixotic hysteria," panic-stricken by the realization of what they had once called for during the eighties.[25]
The debate fueled by Jameson, and specifically Postmodernism and Cultural Theories, over postmodernism was at its most intense from 1994 to 1997, carried on by Chinese intellectuals both inside and outside the mainland; particularly important contributions came from Zhao Yiheng in London, Xu Ben in the United States, and Zhang Xudong, also in the United States, who had gone on to study under Jameson as a doctoral student at Duke.[25]
Publications
Sartre: The Origins of a Style. New Haven: Yale University Press. 1961.
Marxism and Form: Twentieth Century Dialectical Theories of Literature. Princeton: Princeton University Press. 1971.
The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. Princeton: Princeton University Press. 1972. for more info see:
Fables of Aggression: Wyndham Lewis, the Modernist as Fascist. Berkeley: University of California Press. 1979. Reissued: 2008 (Verso)
The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, N.Y.: Cornell University Press. 1981.
Postmodernism and Cultural Theories (Chinese:后现代主义与文化理论; pinyin:Hòuxiàndàizhǔyì yǔ wénhuà lǐlùn). Tr. Tang Xiaobing. Xi'an: Shaanxi Normal University Press. 1987.
The Ideologies of Theory. Essays 1971–1986. Vol. 1: Situations of Theory. Minneapolis: University of Minnesota Press. 1988.
The Ideologies of Theory. Essays 1971–1986. Vol. 2: The Syntax of History. Minneapolis: University of Minnesota Press. 1988.
Nationalism, Colonialism, and Literature. Derry: Field Day, 1988. A collection of three Field Day Pamphlets by Fredric Jameson, Terry Eagleton and Edward Said.
Late Marxism: Adorno, or, The Persistence of the Dialectic. London & New York: Verso. 1990.
Signatures of the Visible. New York & London: Routledge. 1990.
Late capitalism is a concept first used in print by German economist Werner Sombart at the start of the 20th century. In the late 2010s, the term began to be used in the United States and Canada to refer to corporate capitalism.
Postmodernity is the economic or cultural state or condition of society which is said to exist after modernity. Some schools of thought hold that modernity ended in the late 20th century – in the 1980s or early 1990s – and that it was replaced by postmodernity, and still others would extend modernity to cover the developments denoted by postmodernity. The idea of the postmodern condition is sometimes characterized as a culture stripped of its capacity to function in any linear or autonomous state like regressive isolationism, as opposed to the progressive mind state of modernism.
Critique of Dialectical Reason is a 1960 book by the philosopher Jean-Paul Sartre, in which the author further develops the existentialist Marxism he first expounded in his essay Search for a Method (1957). Critique of Dialectical Reason and Search for a Method were written as a common manuscript, with Sartre intending the former to logically precede the latter. Critique of Dialectical Reason was Sartre's second large-scale philosophical treatise, Being and Nothingness (1943) having been the first. The book has been seen by some as an abandonment of Sartre's original existentialism, while others have seen it as a continuation and elaboration of his earlier work. It was translated into English by Alan Sheridan-Smith.
The Frankfurt School is a school of thought in sociology and critical philosophy. It is associated with the Institute for Social Research founded at Goethe University Frankfurt in 1923. Formed during the Weimar Republic during the European interwar period, the first generation of the Frankfurt School was composed of intellectuals, academics, and political dissidents dissatisfied with the contemporary socio-economic systems of the 1930s; namely, capitalism, fascism, and communism.
Marxism is a political philosophy and method of socioeconomic analysis. It uses a materialist interpretation of historical development, better known as "historical materialism," to understand class relations and social conflict. It also uses a dialectical perspective to view social transformation. Marxism originates from the works of 19th-century German philosophers Karl Marx and Friedrich Engels. Marxism has developed over time into various branches and schools of thought, As a result, there is no single, definitive Marxist theory. Marxism has had a profound impact in shaping the modern world, with various left-wing and far-left political movements taking inspiration from it in varying local contexts.
Marxist aesthetics is a theory of aesthetics based on, or derived from, the theories of Karl Marx. It involves a dialectical and materialist, or dialectical materialist, approach to the application of Marxism to the cultural sphere, specifically areas related to taste such as art, beauty, and so forth. Marxists believe that economic and social conditions, and especially the class relations that derive from them, affect every aspect of an individual's life, from religious beliefs to legal systems to cultural frameworks. From one classic Marxist point of view, the role of art is not only to represent such conditions truthfully, but also to seek to improve them ; however, this is a contentious interpretation of the limited but significant writing by Marx and Engels on art and especially on aesthetics. For instance, Nikolay Chernyshevsky, who greatly influenced the art of the early Soviet Union, followed the secular humanism of Ludwig Feuerbach more than he followed Marx.
The sociology of literature is a subfield of the sociology of culture. It studies the social production of literature and its social implications. A notable example is Pierre Bourdieu's 1992 Les Règles de L'Art: Genèse et Structure du Champ Littéraire, translated by Susan Emanuel as Rules of Art: Genesis and Structure of the Literary Field (1996).
Subversive affirmation is an artistic performance that overemphasizes prevailing ideologies and thereby calls them into question. Simultaneously with affirmation, the affirmed concepts are revealed, and artists distance themselves from those concepts. Strategies of subversive affirmation include "over-identification", "over-affirmation" and "yes revolution".
Aesthetic Theory is a book by the German philosopher Theodor Adorno, which was culled from drafts written between 1956 and 1969 and ultimately published posthumously in 1970. Although anchored by the philosophical study of art, the book is interdisciplinary and incorporates elements of political philosophy, sociology, metaphysics and other philosophical pursuits in keeping with Adorno's boundary-shunning methodology.
Non-simultaneity or nonsynchronism is a concept in the writings of Ernst Bloch which denotes the time lag, or uneven temporal development, produced in the social sphere by the processes of capitalist modernization and/or the incomplete nature of those processes. The term, especially in the phrase "the simultaneity of the non-simultaneous", has been used subsequently in predominantly Marxist theories of modernity, world-systems, postmodernity and globalization.
Robert T. Tally Jr. is a professor of English at Texas State University. His research and teaching focuses on the relations among space, narrative, and representation, particularly in U.S. and comparative literature, and he is active in the emerging scholarly fields of geocriticism, literary geography, and the spatial humanities. Tally is the editor of "Geocriticism and Spatial Literary Studies," a Palgrave Macmillan book series established in 2013. The translator of Bertrand Westphal's Geocriticism: Real and Fictional Spaces and the editor of Geocritical Explorations, In addition to his numerous essays on literature, criticism, and theory, Tally has written books on Herman Melville, Edgar Allan Poe, Kurt Vonnegut, and J.R.R. Tolkien's The Hobbit, as well as a critical introduction to the work of literary critic and theorist Fredric Jameson.
Neo-Marxism is a collection of Marxist schools of thought originating from 20th-century approaches to amend or extend Marxism and Marxist theory, typically by incorporating elements from other intellectual traditions such as critical theory, psychoanalysis, or existentialism. Neo-Marxism comes under the broader framework of the New Left. In a sociological sense, neo-Marxism adds Max Weber's broader understanding of social inequality, such as status and power, to Marxist philosophy.
Post-Marxism is a perspective in critical social theory which radically reinterprets Marxism, countering its association with economism, historical determinism, anti-humanism, and class reductionism, whilst remaining committed to the construction of socialism. Most notably, Post-Marxists are anti-essentialist, rejecting the primacy of class struggle, and instead focus on building radical democracy. Post-Marxism can be considered a synthesis of post-structuralist frameworks and neo-Marxist analysis, in response to the decline of the New Left after the protests of 1968. In a more broader sense, post-Marxism can refer to Marxists or Marxian-adjacent theories which break with the old worker's movements and socialist states entirely, in a similar sense to post-Leftism, and accept that the era of mass revolution premised on the Fordist worker is potentially over.
A critical theory is any approach to humanities and social philosophy that focuses on society and culture to attempt to reveal, critique, and challenge power structures. With roots in sociology and literary criticism, it argues that social problems stem more from social structures and cultural assumptions rather than from individuals. Some hold it to be an ideology, others argue that ideology is the principal obstacle to human liberation. Critical theory finds applications in various fields of study, including psychoanalysis, film theory, literary theory, cultural studies, history, communication theory, philosophy, and feminist theory.
György Lukács was a Hungarian Marxist philosopher, literary historian, literary critic, and aesthetician. He was one of the founders of Western Marxism, an interpretive tradition that departed from the Soviet Marxist ideological orthodoxy. He developed the theory of reification, and contributed to Marxist theory with developments of Karl Marx's theory of class consciousness. He was also a philosopher of Leninism. He ideologically developed and organised Lenin's pragmatic revolutionary practices into the formal philosophy of vanguard-party revolution.
Chinese Marxist philosophy is the philosophy of dialectical materialism that was introduced into China in the early 1900s and continues in Chinese academia to the current day.
Western Marxism is a current of Marxist theory that arose from Western and Central Europe in the aftermath of the 1917 October Revolution in Russia and the ascent of Leninism. The term denotes a loose collection of theorists who advanced an interpretation of Marxism distinct from classical and Orthodox Marxism and the Marxism-Leninism of the Soviet Union.
Barbara Clare Foley is an American writer and the Distinguished Professor of English at Rutgers University-Newark. She focuses her research and teaching on U.S. literary radicalism, African American literature, and Marxist criticism. The author of six books and over seventy scholarly articles, review essays, and book chapters, she has published on literary theory, academic politics, US proletarian literature, the Harlem Renaissance, and the writers Ralph Ellison and Jean Toomer. Throughout her career, her work has emphasized the centrality of antiracism and Marxist class analysis to both literary study and social movements.
Marxist cultural analysis is a form of cultural analysis and anti-capitalist cultural critique, which assumes the theory of cultural hegemony and from this specifically targets those aspects of culture which are profit driven and mass-produced under capitalism.
References
↑ Mohanty, Satya P. "Jameson's Marxist Hermeneutics and the need for an Adequate Epistemology." In Literary Theory and the Claims of History: Postmodernism, Objectivity, Multicultural Politics. Ithaca: Cornell University Press, 1997, pp. 93–115.
↑ Michael Hardt and Kathi Weeks, "Introduction" to Fredric Jameson, The Jameson Reader, ed. Hardt and Weeks, Oxford: Blackwell, 2000, p. 5.
1 2 Buchanan, Ian (2006). Fredric Jameson: Live Theory. London and New York: Continuum.
↑ Fredric Jameson, "Interview with Srinivas Aramudan and Ranjanna Khanna," in Jameson on Jameson: Conversations on Cultural Marxism, ed. Ian Buchanan (Durham, NC: Duke University Press, 2007), p. 204.
↑ Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell UP, 1982., p. 76
↑ Kristeva, Julia. "Desire in Language: A Semiotic Approach to Literature and Art". Ed. Leon S. Roudiez. Trans. Thomas Gora, Alice Jardine, and Leon S. Roudiez. New York: Columbia UP, 1980. pp. 2, 36.
↑ Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca, NY: Cornell University Press, 1981, p. 10
↑ Vincent B. Leitch, American Literary Criticism from the 1930s to the 1980s, New York: Columbia University Press, p. 382.
↑ Fredric Jameson, The Hegel Variations, London and New York: Verso, 2010, p. 126, n. 41. Cf. Fredric Jameson, The Antinomies of Realism, London and New York: Verso, 2013, p. 37, n. 13.
1 2 3 Wang Ning. "The Mapping of Chinese Postmodernity." Postmodernism and China. Ed. Arif Dirlik and Xudong Zhang. Durham: Duke University Press, 2001.
Ahmad, Aijaz. "Jameson's Rhetoric of Otherness and the 'National Allegory'". In In Theory: Classes, Nations, Literatures. London and New York: Verso. 1992. 95–122.
Anderson, Perry. The Origins of Postmodernity. London and New York: Verso. 1998.
Arac, Jonathan. "Frederic Jameson and Marxism." In Critical Genealogies: Historical Situations for Postmodern Literary Studies. New York: Columbia University Press. 1987. 261–279.
Gatto, Marco. Fredric Jameson: neomarxismo, dialettica e teoria della letteratura. Soveria Mannelli: Rubbettino. 2008.
Helmling, Stephen. The Success and Failure of Fredric Jameson: Writing, the Sublime, and the Dialectic of Critique. Albany: State University of New York Press. 2001.
Hullot-Kentor, Robert. "Suggested Reading: Jameson on Adorno". In Things Beyond Resemblance: Collected Essays on Theodor W. Adorno. New York: Columbia University Press, 2008. 220–233.
Irr, Caren and Ian Buchanan, eds. On Jameson: From Postmodernism to Globalization. Albany: State University of New York Press. 2005.
Kellner, Douglas, and Sean Homer, eds. Fredric Jameson: a Critical Reader. New York: Palgrave Macmillan. 2004.
Kunkel, Benjamin. "Into the Big Tent". London Review of Books 32.8 (April 22, 2010). 12–16.
LaCapra, Dominick. "Marxism in the Textual Maelstrom: Fredric Jameson's The Political Unconscious." In Rethinking Intellectual History. Ithaca: Cornell University Press. 1983. 234–267.
Link, Alex. "The Mysteries of Postmodernism, or, Fredric Jameson's Gothic Plots." Theorising the Gothic. Eds. Jerrold E. Hogle and Andrew Smith. Special issue of Gothic Studies 11.1 (2009): 70–85.
Millay, Thomas J. "Always Historicize! On Fredric Jameson, the Tea Party, and Theological Pragmatics." The Other Journal 22 (2013).
Roberts, Adam. Fredric Jameson. New York: Routledge, 2000.
Iona Singh (2004) Vermeer, materialism, and the transcendental in art, Rethinking Marxism, 16:2, 155–171, DOI: 10.1080/08935690410001676212
Tally, Robert T. Fredric Jameson: The Project of Dialectical Criticism. London: Pluto, 2014.
Tally, Robert T. "Jameson's Project of Cognitive Mapping." In Social Cartography: Mapping Ways of Seeing Social and Educational Change. Ed. Rolland G. Paulston. New York: Garland, 1996. 399–416.
Weber, Samuel. "Capitalising History: Notes on The Political Unconscious." In The Politics of Theory. Ed. Francis Barker, Peter Hulme, Margaret Iversen, and Diana Loxley. Colchester: University of Essex Press. 1983. 248–264.
White, Hayden. "Getting Out of History: Jameson's Redemption of Narrative." In The Content of the Form: Narrative Discourse and Historical Representation. Baltimore: Johns Hopkins University Press. 1987. 142–168.
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