By Caren Irr
Offers an interrogation of Jameson's serious legacy.
One of the best figures within the debate over postmodernism within the Eighties and Nineteen Nineties, Fredric Jameson is thought of as an important Marxist theoretician and cultural critic writing in the USA this day. even supposing Jameson's value as a world highbrow has been widely known for your time, not one of the literature covers the entire variety of his paintings. This well timed assortment displays on Jameson's complete physique of labor and demonstrates its strength to form the rising box of globalization stories. specialists in literary conception, Slavic reports, movie feedback, and religious study discover the importance of Jameson's paintings for his or her different fields. The individuals deal with Jameson's paintings as a sophisticated and interconnected entire, and care for many subject matters, together with his impact in China and Russia, his pursuits in moment- and third-world cinema and literature, and his lifelong ardour for technology fiction. As On Jameson finds, integrating those issues is Jameson's undertaking of manufacturing a severe idea of up to date international cultures.
“The first query to invite approximately an edited quantity is: why does it exist? the fabric on Jameson in English is comparatively meager contemplating the level of his effect, and so any ebook devoted to an in depth engagement together with his paintings is welcome. by means of a marginally extra bold common-sense criterion—a quantity like this may still acquire very important essays on a major subject in a roughly coherent way—the booklet succeeds admirably.” — symplokē
"The individuals exude a feeling of the more youthful iteration claiming Jameson's paintings as its personal, no longer defensively or by way of easy id with any political line, yet as a part of an ongoing set of highbrow struggles with the simplest that has been recognized and thought of the biggest problems with their/our personal time." — Bruce Robbins, writer of Feeling international: Internationalism in Distress
Contributors contain Roland Boer, Ian Buchanan, Vitaly Chernetsky, Sean Homer, Caren Irr, Carolyn Lesjak, Michael Rothberg, Robert Seguin, Imre Szeman, Evan Watkins, and Phillip E. Wegner.
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Extra info for On Jameson: from postmodernism to globalization
The invention of “new geotopical cartographies,” in other words, doesn’t have to preclude—at least in Tahimik’s practice—the heterogeneous. If anything, it seems productive of it, both in its form and content. The declaration that the fictional Tahimik issues when he resigns as president of the Werner Von Braun fan club attests to this heterogeneity in its assertion of independence: “I declare myself independent from those who would build bridges to the stars . . I am Kidlat Tahimik. I choose my vehicle.
32 Like the notion of science as popular mechanics, aesthetics and production are once more brought together, as an integral aspect of the jeepney is to be found in the remaking of “military machinery” into brightly painted objects that are, simultaneously, aesthetically pleasing and useful. ”33 Tahimik’s film as jeepney: the significance of this claim lies in its envisioning of a “realist” aesthetic as a matter now of space rather than of time. 34 Again, it is an admixture, this time of different social times, that is both represented in the film (part of its content) and constitutive of it (the nature of its form).
Envisioned now as a kind of Brechtian “autonomization,” Jameson’s realism dialectically refashions modernism itself. Modernist fragmentation, and its collusion with the market, becomes a precondition for an “unexpected unforeseeable line of attack”: the Brechtian project of reassembly. Reification is “refunctioned” as a condition of possibility for the “autonomization” of the social order (and the aesthetic as well) so that it, too, can be reassembled much like Galy Gay is broken down Carolyn Lesjak 45 and rebuilt in various guises in Brecht’s Mann ist Mann.