Fredric Jameson: A Critical Reader
Format: PDF / Kindle (mobi) / ePub
This volume brings together original work from internationally recognized scholars that critically engages with the full range of Jameson's work, including: Sartre, Lukács, 'Third World' literature, architecture, postmodernity, globalization, film, dialectics and Brecht. In a series of lively, and at times iconoclastic readings, the contributors challenge accepted views of Jameson's work and locate his project in the historical, political and institutional context that shaped it. The volume concludes with an original contribution by Jameson himself, providing an opportunity for readers to critically engage with his work themselves.
respectable burghers used to count as “irrational”’ (1990a, pp. 236–7). John O’Kane 163 These comments, not surprisingly, come from Jameson’s 1990 book on Adorno, where we find two related concerns: the validity of “negative dialectics” as a critical tool in the wake of the Wall’s collapse; and the justification of Adorno’s ideas for better understanding postmodernism. As a thinker who worked through modernism and Marxism on the cusp of the postmodern era (passing in 1969), Adorno must be a
situation of the PCF, which simultaneously represented the largest organisation of the French working class and at the same time ‘slavishly followed the dictates of the Soviet Union instead of developing Marxist theory into a viable path of socialism in France’ (Poster, 1982, p. 11). Finally, there was the problematic status of Marxist theory itself, which, in the hands of Stalinists, had degenerated into the rigid dogma of economism rather than developed as a critical and revolutionary theory.
Post-Tiananmen China, a special issue of Social Text. He is the Chinese translator of Walter Benjamin and Fredric Jameson. Notes on Contributors xi Slavoj Zizek is Senior Researcher at the Department of Philosophy, University of Ljubljana, Slovenia. Amongst his most recent publications are Ticklish Subject: The Absent Centre of Political Ontology; Did Someone Say Totalitarianism? Four Interventions in the (Mis)use of a Notion; and The Fright of Real Tears: Krzysztof Kieslowski between Theory
that in which, having made a Neil Lazarus 45 couple of what he terms ‘initial distinctions’ (we will return to these in due course), Jameson moves to advance a ‘sweeping hypothesis’: ‘[L]et me now’, he writes, try to say what all third-world cultural productions seem to have in common and what distinguishes them radically from analogous cultural forms in the first world. All third-world texts are necessarily, I want to argue, allegorical, and in a very specific way: they are to be read as
example, and this immediately cuts off some expectations, and organises and manages others. MC Nevertheless, I tend to think that the question of genre in documentary is on the one hand apparently obvious, and on the other hand extremely elusive. It leads me to want to ask why you think it is that film studies have almost completely ignored documentary until fairly recently, what is it about documentary that gives it a generic status that seems to defy analysis by the same kinds of sets of