Fredric Jameson Research Papers - Academia.edu (original) (raw)

Enclosed is the syllabus and course notes from the upper division course I teach in PostModernism and Post-Marxist Critical Theory. It occurs to me that some of these essays--ranging from Horkheimer and Adorno, Baudrillard, Foucault, and the feminist post-modern theorist Donna Haraway may offer some insight and some tools for comprehending the dark times in which we live. While these essays may not be directly aimed at understanding the rise of phenomena like the Alt-Right, toxic masculinity, and particularly violent forms of patriarchy, I think they can show us something about the ideological trends that set us on out current morally troubling path.

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- Critical Theory, Feminist Theory, Marxism, Postcolonial Studies

This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right. Each chapter first presents key ideas proposed by a specific theorist and then puts them in conversation with Tarantino’s films. Jacques Rancière’s theory of art is used to reject postmodernism’s claims about the ‘death’ of the aesthetic image in contemporary cinema. Fredric Jameson’s and Slavoj Žižek’s dialectical thinking is mobilized to challenge simplistic, ideological readings of postmodern cinema in general, and Tarantino’s films in particular. Finally, the direct influence of Carol Clover’s psychoanalytical approach to the horror genre on Tarantino’s work is discussed to prove the director’s specific contribution to a theoretical understanding of contemporary film aesthetics.

- by Federico Pagello
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- Film Studies, Film Theory, Slavoj Žižek, Jacques Rancière

This essay will discuss Fredric Jameson’s ‘Third World Literature in the Era of Multinational Capitalism’ (1986: 65-88) in which Jameson defines a ‘Third-World Literature’ and suggests that ‘all third-world texts are […] allegories, and in a very specific way: they are to be read as what I will call national allegories’ (69). Using Jameson’s text and Aijaz Ahmed’s critical response to Jameson’s theory in his 1992 book In Theory: Classes Nation, Literatures this essay aims to generate a thesis by which two ‘Third-World literatures’ will be comparatively analysed. This analysis, however, will take place in a subsequent essay, and so, the focus of analysis for now is on the theories presented in Jameson’s text and on Ahmed’s critical response.

- by Wesley Triffitt
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- Postcolonial Studies, Literary Theory, Fredric Jameson, Aijaz Ahmed

Postmodern dünya içinde bulunduğu kaotik yapının doğası gereği birçok unsurun birleşiminden oluşur. Bu çoklu yapı içerisinde görülen parçalılığın yol açtığı uyumsuzluk durumu insan yaşantısına doğrudan etki eder. Teknolojiden mimariye, bilimden sanata insan üretkenliğini esas alan tüm alanlarda kendini gösteren bu durum, üretimde bulunan kişi açısından karmaşık bir görüntünün biçimlendirilmesini zorunlu kılar. Sanatçı da bu etkinin kendisi açısından doğurduğu sonuçları çeşitli biçimlerde ürünler vererek/bu görüntüyü kendisine göre düzenleyerek ortaya koyar. Roman türü açısındansa böylesi bir ürün/tepki ancak dil üzerinden mümkündür. Dilin kullanımına bağlı olarak geliştirilen söylem evreni postmodern dünyanın karmaşasını hem içeriğe hem de biçime yansıtma gayesindedir.
1980 sonrası Türk romanında yaşanan çoksesliliğin neden olduğu çeşitlilik ve karmaşanın romanımızı dönüştürme noktasında önemli bir rol üstlendiği göz önünde bulundurulmalıdır. Bu dönemde eser veren roman yazarlarından biri olan Şule Gürbüz hem üslup hem de içerik bağlamında roman türünü farklı bir yere taşımıştır. Yazar, bu çalışmada ele alınacak olan 1992 tarihli ilk eseri "Kambur"da kendi söylem evreninin yansımalarına dair ilk ipuçlarını ortaya koymuştur. Daha sonraki dönemlerde roman, hikâye ve deneme türünde verdiği eserlerde de “Kambur”da kurulmaya çalışan söylemi destekleyen Gürbüz’ün klasik yazın üslubunu çeşitli biçimlerde yıkma/parçalama gayesinde olduğu düşünülmektedir. Yazar, söylemini kimi zaman taban tabana zıt iki durum üzerinden "diyalektik duyuş" esasına bağlı olarak inşa ederken, kimi zamansa bu diyalektik duyuş yaklaşımını besleyen söylemlerin dolaylı bağlantılar üzerinden kurulduğu görülmektedir. Bu bağlamda, Gürbüz'ün postmodern bir roman yazarı olarak böylesi bir söylem biçimini benimsemesi üzerinden nasıl bir dil oluşturmaya çalıştığı üzerine odaklanılacak ve eserin anlatmak istedikleri noktasında "diyalektik duyuş" yaklaşımının postmodern romanın var oluşu noktasında sağladığı imkânlar üzerinde durulacaktır. Söz konusu romanın açtığı anlam alanları “okur merkezli” yorumlama tekniğiyle ele alınacak, özellikle roman kahramanı olarak seçilen “Kambur” tipinin arka planında yer alan düşünsel evrene yönelik değerlendirmelere yer verilecektir. Böylelikle yazarın kurmaya çalıştığı roman evreninde diyalektiğin ne ölçüde görünür kılındığı belirlenecek, postmodern söylemin izleri roman söylemine yansıdığı ölçüde tespit edilmeye çalışılacaktır. Bunu yaparken de romanda yer alan ifadelere yer verilerek söylemin doğrudan yorumlanmasına dayanan bir değerlendirme süreci işletilecektir.

- by Emel Aras
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- Comparative Literature, Literary Criticism, Fredric Jameson, Modern Türk Edebiyatı
- by Mikkel Bolt Rasmussen
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- Cultural Studies, Marxism, Cultural Theory, Antonio Negri

Artykuł stanowi próbę interpretacji historycznego fenomenu, jakim była obecność i popularność technologii wideo w Polsce w okresie transformacji. Fenomen ten odczytany jest jako kompleks ideologiczny, działający na różnych poziomach: treści dystrybuowanej na kasetach, modelu biznesowego, oferty skierowanej do szerokiej publiczności. VHS, poprzez dystrybuowane filmy, był nośnikiem realizmu kapitalistycznego: ukazywał kapitalistyczną formację społeczną jako tło dla sposobu, w jaki jednostka doświadcza swojego życia. VHS był też zjawiskiem przejściowym: jako technologia, nośnik treści i praktyka utracił popularność równolegle z końcem fazy polskiego kapitalizmu, z którą był powiązany.

- by Krzysztof Świrek
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- Fredric Jameson, Socjologia, Ideologia, Kapitalizm
- by Rob S E A N Wilson
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- Cultural Studies, Asian Studies, American Studies, Aesthetics
- by Simon O'Sullivan
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- New Media, Contemporary Art, Science Fiction, Fredric Jameson

Este es un fragmento de mi libro "La línea de producción de la crítica" publicado en 2014 por consonni. El capítulo trata del tema "La lucha por la publicidad" en la crítica a través de la expresión de "la esfera de la circulación", a... more

Este es un fragmento de mi libro "La línea de producción de la crítica"
publicado en 2014 por consonni. El capítulo trata del tema "La lucha por la publicidad" en la crítica a través de la expresión de "la esfera de la circulación", a saber, el mercado y la "publicidad". Esta versión contiene ahora la portada/contraportada y los capítulos.

- by Peio Aguirre
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- Critical Theory, Marxism, Post-Marxism, Walter Benjamin

This essay examines Carver's minimalist style as a response to postmodern culture. Taylor Johnston suggests that Carver's spare prose has the effect of stripping away as many consumer artifacts as possible without jettisoning referentiality entirely. In this way, Carver's stories clear the overpopulated, decorative space of both consumer culture and more canonical postmodern literatures. "Cathedral" exemplifies this operation in that it not only prunes brand names, but also allegorizes the utopian possibility of experience removed from commodification. The essay performs a close reading of this story in which blindness becomes a figure for the evacuation of consumer culture from lower-middle-class space.

- by Taylor Johnston-Levy
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- Critical Theory, Fredric Jameson, Raymond Carver, Raymond Carver Cathedral
- by Gabriel Tupinambá
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- Fredric Jameson

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and... more

- by Richard Shusterman
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- Philosophy, Jurgen Habermas, Postmodernism, Fredric Jameson

In his book, Alexander Jakobidze-Gitman traces the evolution of the attitude toward Stalinism in post-Soviet cinema. Initially, the post-Soviet-era film-makers focused primarily on the "demonic" aspects of Stalin, which were, incidentally, first attributed to him even during his lifetime. Later, another cinematic tradition, which established itself by the mid-2000s, pictured the Stalinist era as both tragic and heroic: characters displayed exceptional humanness, not so much despite but rather because of the adverse circumstances. At the same time, some filmmakers sought to represent certain aspects of Stalinism with an ironic distance. Together, these two trends successfully incorporated many vertiges of that era into present-day mass culture. An alternative attitude was taken by art-house cinema: instead of trying to reconstruct history it sought to create specific means of expression to portray the very act of remembering.

- by Alexander Jakobidze-Gitman
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- Russian Studies, Film Studies, History and Memory, Historical Films
- by Matthew J Sharpe
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- Critical Theory, Management, Fredric Jameson, Irony

L'articolo affronta la questione delle resistenze oggi sempre più forti a leggere, studiare, amare i classici perché ritenuti spesso politicamente e moralmente impresentabili, perché veicolerebbero pregiudizi di genere, religiosi, razzisti ecc. Nel saggio non si nega che nei classici ritroviamo tali pregiudizi ma secondo chi scrive essi sono sempre contraddetti e superati dai testi che vanno sempre ben al di là delle convinzioni dell'autore.

- by stefano brugnolo
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- Shakespeare, Fredric Jameson, Dante, Denis de Rougemont

Propongo un estudio, fragmentario, acerca de la constitución del sujeto contemporáneo actual como resultado del desarrollo, en la modernidad, de la ideología o dialéctica de la Ilustración y la conformación de una nueva subjetividad respecto de las relaciones humanas, tanto sociales e interpersonales como psicológicas e intrapersonales, que se deducen de este proceso.

- by Miguel Ballarín
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- Critical Theory, Theodor Adorno, Max Horkheimer, Slavoj Žižek

Chuck Palahniuk's 1996 debut novel Fight Club describes a protagonist attempting to cope with the effeminising effects of the cultural industry and its advertising complex, a dissatisfactory corporate career that involves criss-crossing the American landscape by plane, and contemporary consumer culture in general. This struggle results in schizophrenia, the creation of a virile and violent fight club, a destructive alter ego, and the militaristic, fascist, revolutionary " Project Mayhem" -an anarchic project to undermine and destroy as much of the American urban landscape as possible. Fight Club also tells the story of how life in a postmodern hyperspace can result in cognitive dissonance. In what follows, this depiction of the urban landscape inhabitant's reaction against the unfulfilling nature of rationalized capitalism and the commodified cultural aesthetic production in late capitalist, postindustrial society will be explored through a critical analysis of Fight Club.

- by Jonas van de Poel
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- Consumerism, Postmodernism, Fredric Jameson, Max Weber (Philosophy)

The introduction -- titled "For A Political Critique of Culture" -- to a special issue of Social Text (34.2, June 2016) co-edited by Nico Baumbach, Damon R. Young, and Genevieve Yue. Considers the stakes for theory in the humanities today, via a discussion of debates about various kinds of reading (symptomatic vs. surface) and the legacies of Marxist cultural criticism and its methods in the 21st century.

- by Damon R Young and +1
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- Cultural Studies, Film Theory, Marxism, Cultural Theory

In Platform Urbanism and Its Discontents, edited by Peter Mörtenböck and Helge Mooshammer. Netherlands: nai010, 2021.

- by Louis Moreno
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- Marxist theory, Fredric Jameson, Architecture and Public Spaces, Theory of Rent.

This paper focuses on cognitive mapping, a set of skills that everyone makes use of in everyday life aimed at helping us understand the spatial environment we live in. I will refer to texts by Roger M. Downs and David Stea, Fredric Jameson, and Kevin Lynch in order to set the basis for subsequent analysis of Laura Grace Ford’s drifting walks across London. The psychogeographical concept of the dérive will resonate throughout the essay, a method thanks to which urban dwellers create new spatial experiences by following different routes to their usual commute, a technique that Patrick Keiller employed while filming his Robinson series. Moreover, it will be shown how 1990s electronic music evoked in Mark Leckey’s video essay and Lee Gamble’s tracks along with the docudrama Twilight City are relevant to this study of the large-scale environment and its likeness constructed by our mental images. By analysing each of the aforementioned examples, I will attempt to demonstrate that these art practices are involved in mapping a socio-spatial totality of daily life, in other words achieving – even if partially and ideologically – what Jameson referred to as “an aesthetic of cognitive mapping.”

- by Cristina Ricci
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- Psychogeography, Fredric Jameson, Soundscape, Cognitive Mapping

Atenta al modo en que los afectos colonizan las formas culturales, la teoría narrativa desarrollada por Fredric Jameson contiene claves de interés para interrogarnos cómo el miedo, en tiempos recientes, emerge como una intensidad: una conmoción subjetiva que trasciende la posibilidad de ser comunicada, pero que deja huellas en las materialidades artísticas. Me ocuparé de relevar el alcance de esta categoría, a la luz de un conjunto de series televisivas que hacen del miedo y sus estados críticos un lugar de enunciación. La perspectiva de Jameson permitirá alcanzar cierto grado de generalización mediante el reconocimiento de procedimientos de representación, tales como las experiencias episódicas de los personajes, la preponderancia por los espacios de lo íntimo y los efectos de extrañamiento que atraviesan algunas matrices genéricas dominantes. El objetivo de este trabajo radica en iniciar una regularización coherente de series actuales que escenifican los desbordes del miedo en el cuerpo social, al tiempo que señalan cambios sistémicos introducidos por la experiencia cultural de la posmodernidad.

- by Ariel Gómez Ponce
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- Fredric Jameson, Emociones y afectos, Posmodernidad, TV Series

Although he maintained that he was not himself a Marxist-and frequently criticized both existing communism and Marxist literary criticism-Edward W. Said's thought and work were profoundly innuenced by Marxist theory, critical practice, and general discourse: his writings owe much to a Marxist tradition and draw inspiration from the committed aesthetics and politics of Jean-Paul Sartre, the narrative theory of Georg Lukács, the postcolonial psychology of Frantz Fanon, Antonio Gramsci's notions of hegemony and the function of intellectuals, the Frankfurt School's critique of everyday life, and Raymond Williams' cultural studies. is essay examines Said's putative anti-Marxism in the context of his distinctively spatial approach to literature and culture and argues that understanding his spatially oriented criticism helps to square the circle of his ambiguous relationship to Marxism and amplify the power of his oppositional criticism. Said's engagement with Marxist theory informs his humanism and democratic critical practice, which are all the more relevant and necessary in our present condition.

- by Robert Tally
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- Critical Theory, Marxism, Postcolonial Studies, Literary Criticism

Introduction to forthcoming monograph

- by Clint Burnham
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- Cultural Studies, Film Theory, Marxist theory, Fredric Jameson
- by Jamal Bahmad
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- Globalization, Marxism, Globalisation and cultural change, Urban Studies

o artigo analisa as atuais condições sócio-espaciais por meio de aproximações, mas sobretudo de contrastes com conceitos espaciais que pautaram, em grande medida, a compreensão da espacialidade da década de 1990. Evidencia-se, neste quadro comparativo, que aquele período fora marcado por esvaziamento da vida urbana, uma tendência aos consensos públicos, uma dissolução de fronteiras entre público e privado; já o contemporâneo, embora traga continuidades, é marcado por uma reintensificação da vida urbana alavancada pela volta aos espaços públicos enquanto espaços de cidadania ativa, dissensos e desejo por participação social.

- by Leerom Medovoi
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- Marxism, Environmental Studies, Literary Theory, Michel Foucault

Postmodern literature, fiction in particular, is, according to Barth (1984), a literature of exhausted possibility due to its entangled thematic and technical approach which defies the conventional modern fictional form. It reflects the zeitgeist or the spirit of postmodernism which is regarded as a revaluation of the modern enterprise; an enterprise that embodies universality and coherence. The present research paper attempts to address the recurrent thematic element that postmodern fiction revolves around: that of the presence of the historiographic element in postmodern fiction which reflects in itself the evaluation of past history; such a fictional preoccupation reflects the major postmodern philosophers' and thinkers' concerns, such as those of Lyotard and Baudrillard, on the impossibility for the existence of a universal coherent history. This criterion is one amongst other criteria that justify the exhaustion of postmodern fiction.

- by Nariman LARBI
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- Postmodernism, Postmodern Fiction, Fredric Jameson, Historiographic Metafiction
- by Mary K . Holland
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- Buddhism, Quantum Physics, Poststructuralism, Jorge Luis Borges

La capacidad de la ciencia ficción para convocar las inquietudes colectivas más inconscientes y reprimidas es proporcional a su propia inventiva auto-regeneradora. Interstellar (2014) de Christopher Nolan profundiza algunos temas de la ciencia y la filosofía a lo largo de la historia para el disfrute de la audiencia en un drama galáctico de proporciones épicas. Este ensayo esboza algunas reflexiones sobre el cine de Nolan y sobre Interstellar como una película con multitud de perspectivas filosóficas y políticas en nuestro confuso tiempo histórico. Del mismo modo, trata de rebatir algunas de las críticas lanzadas sobre la película, entre ellas, la principal, de ser otro producto americano de carácter antropocéntrico.

- by Peio Aguirre
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- Science Fiction, Fredric Jameson, Cinema Studies, Feminist Science Fiction Studies

Krzysztof Świrek bada sposób konstrukcji pojęcia ideologii na przecięciu dwóch głównych języków zarówno dwudziestowiecznej, jak i współczesnej myśli humanistycznej: marksizmu i psychoanalizy, a skupia się przy tym na analizie prac Louisa Althussera, Frederica Jamesona i Slavoja Žižka. Materiał teoretyczny nie został jednak pozbawiony odniesień do rzeczywistości społecznej czy politycznej, co sprawia, że po Teorie ideologii powinni sięgnąć nie tylko ci czytelnicy, którym potrzebna jest wiedza akademicka z zakresu nauk politycznych, socjologii czy filozofii, lecz także, a może przede wszystkim ci, którzy odczuwają brak narzędzi interpretacyjnych do rozumienia współczesnego życia społeczno-politycznego oraz jego przemian.

- by Krzysztof Świrek
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- Marxism, Ideology, Jacques Lacan, Louis Althusser
- by Dr. Alexander Dunst
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- Critical Theory, Marxism, Post-Marxism, Fredric Jameson

It is axiomatic in the scholarship and reception of Ridley Scott's Blade Runner (1982) that the film uses replicants and artificial sentience as staging grounds for questions about subjectivity under (late) capital rather than as avenues of futurist inquiry.[1] As such, it shares in the broad category of allegory. The film is also recognised, however, as a text saturated with imagism and often haunted by the more numinous mimetic category of symbolism. It has been said that the argument about the humanity of the protagonist-the "Deck-A-Rep" debate-is symptomatic of a more "elemental duality at the film's core,"[2] and indicates a conceptual rather than a thematic tension. In contrast, Denis Villeneuve's sequel Blade Runner 2049 (2017) has been described as, and criticised for, resolving and foreclosing such productive uncertainties. While this may be true of the film

- by Jonathan Dunk
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- Fredric Jameson, Allegory, Blade Runner

Marivi Soliven’s The Mango Bride (2013) features a plot not unlike that of television soap operas: with its rich girl-poor girl motif, hidden family secrets that go generations back, and tragic deaths. Undergirded by Fredric Jameson’s notion of the ideologeme, Teresa Ebert’s critique of contemporary cultural feminism, and Denise Cruz’s notion of transpacific femininities, the paper is divided into two main sections of analysis and ultimately offers an argument, not only about the novel, but about the writer as well. First, the paper engages with ideologemes found in The Mango Bride, which include ressentiment, melodrama, and philanthropy in establishing the class dichotomy present in the narrative, and then in identifying the use of the ideologeme as a symbolic resolution to this class antagonism. The second half of the paper challenges the feminist aspirations of the novel, which, drawing from Ebert’s critiques, proves to be a non-materialist feminism that conceals capitalism in the narrative. Finally, the paper argues that, as an elite writer coming from a long history of bourgeois writers who continually seek to define and redefine the transpacific Filipina, Soliven is complicitous in the marginalization of the working class through Philippine literature in English.

- by Lexine Uy
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- Globalization, Filipino American LIterature, Melodrama, Capitalism
- by Pedro Iacobelli
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- Okinawan Studies, Fredric Jameson, Orientalism in art, Edward Said
- by Gökhan Tunç
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- Fredric Jameson, Cengiz Dağcı

El rock como cultura y comercio de la experiencia ería imposible hablar de la música rock en general y hacer justicia a toda su complejidad. Como género, emergió en un momento histórico muy preciso, a mediados de los años cincuenta del siglo pasado y con motivo de unas circunstancias históricas y sociológicas muy determinadas, desarrollándose a lo largo de su historia en una fragmentada multiplicidad de estilos y subgéneros: glam rock, punk, heavy metal, hardcore, noise, grunge… Otra circunstancia que viene a añadir complejidad al fenómeno reside en el hecho de que el rock se ha relacionado, desde sus inicios, con lo visual, tanto en su puesta en escena en los conciertos como más adelante también con el videoclip. A su vez, ha utilizado multitud de soportes gráficos: revistas, fanzines, pósteres o cubiertas de discos, que a menudo lo han llevado a desbordar el ámbito de lo meramente musical y, dialogando con una multiplicidad

- by Felip Vidal Auladell
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- Cultural Studies, Popular Music, Postmodernism, Fredric Jameson