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Topic: Frederic Jameson

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Slavoj Zizek

Jacques Lacan

	Fredric Jameson's Postmodern Marxism
		Anders Stephanson, "A Conversation with Fredric Jameson," 21.
		Anders Stephanson, "A Conversation with Fredric Jameson," 26.
		Anders Stephanson, "A Conversation with Fredric Jameson." 6.
	www.mun.ca /phil/codgito/vol4/v4doc2.html (6048 words)

	FREDERIC JAMESON
		Jameson needs the shoes to be a heterosexual pair to displace any possibility of an "unnatural" pairing of two left shoes and thus displace the possibility of the fetish.
		Jameson's failure to consider the possibility of a homosexual pair of shoes repeats his failure to perceive the possibility of an intermixing of historical periods.
		Jameson argues that the overall effect of Postmodernism -- a culture that has lost all sense of history in an all encompassing wave of the new (307-9) -- is a myth: we have not escaped history; we have just forgotten history.
	www.pum.umontreal.ca /revues/surfaces/vol3/cecil.html (2846 words)

	Illuminations: Kellner
		Fredric Jameson is generally considered to be one of the foremost contemporary English-language Marxist literary and cultural critics.
		Jameson thus develops in his early 1970s work a totalizing, synthesizing thought which provides a systematic framework for cultural studies and a theory of history within which dialectical criticism can operate.
		Jameson thus emerges as a synthetic and eclectic Marxian cultural theorist who attempts to preserve and develop the Marxian theory while analyzing the politics and utopian moments of a stunning diversity of cultural texts.
	www.uta.edu /huma/illuminations/kell19.htm (1419 words)

	JOSE ANGEL GARCIA LANDA: Annotations on Fredric Jameson's "Postmodernism, or The Cultural Logic of Late ...
		This is somewhat obscured by Jameson's focus on architecture; architecture is used (ideally) by all kinds of people, and it forces you into a minimum of analysis as you use it (if you do not believe me, you can test your bearings at what has been called the "infamous double staircase" in the Graduate Center).
		Anyway, the "aesthetic populism" of Venturi's theory of architecture is not mass culture in the sense that the outskirts of (say) Caracas are architectural mass culture, and the hotel Jameson describes is an extreme of self-consciousness unthinkable in mass culture.
		Jameson means, of course, the revolutionary experiences, but he neglects about 99% of actual history, which is experienced in a passive way by the individuals.
	www.unizar.es /departamentos/filologia_inglesa/garciala/publicaciones/jameson.html (1018 words)

	Nietzsche on Good/Evil
		When Jameson reports to us the fact that nature has been brought to the edge of annihilation by the proliferation and spread of culture or society, he is not telling us that something bad or evil has happened while we (Western Europeans?) were asleep.
		In fact, Jameson is telling us that a positive good, a supreme virtue, the supreme value of human endeavor, has been achieved because in only a few hundred years humankind has managed to destroy that which has existed for millions of years.
		When Jameson suggests that Nietzsche taught us to perceive evil as being a function of difference between self and other, between culture and nature, he essentially ignores the fact that Nietzsche was making that claim in the context of an assault on Christianity.
	mayanastro.freeservers.com /nietzsche1.html (3099 words)

	Fredric Jameson
		Jameson here 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.
		Jameson argued, against this, that these phenomena had or could have been understood successfully within a modernist framework; postmodern failure to achieve this understanding implied an abrupt break in the dialectical refinement of thought.
		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.
	www.jahsonic.com /FredericJameson.html (416 words)

	Jameson (Site not responding. Last check: 2007-10-24)
		Frederic Jameson is the best known and most influential Marxist literary and cultural critic writing in English.
		Jameson was a student of Erich Auerbach and an early and enduring influence on his work has been the example of Georg Lukács.
		Jameson’s magisterial command of a wide panorama of theoretical traditions meant that he was well placed to launch a polemic against the de-politicising, relativist or reactionary tendencies of the age.
	www.tasc.ac.uk /depart/media/staff/ls/Modules/Theory/JAMESON.htm (635 words)

	Amazon.ca: Postmodernism, Or, the Cultural Logic of Late Capitalism: Books (Site not responding. Last check: 2007-10-24)
		Frederic Jameson, an American Marxist social theorist and the author of the book, The Cultural Logic of Late Capitalism, draws the attentions to the differences in culture between the modern and postmodern periods.
		Jameson refers to this cultural recycling as historicism (the random cannibalization of all styles of the past.) It is an increasing primacy of the 'neo'(new) and a world was transformed into sheer images of itself.
		Jameson also suggests that this latest mutation in space, postmodern hyperspace, (he provides the Bonaventura hotel as an example) has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world.
	www.amazon.ca /exec/obidos/ASIN/0822310902 (1555 words)

	Foley, review of Jameson, 'The Seeds of Time'
		Jameson is of course under no obligation to view the contemporary proletariat as the agent of this renewed praxis.
		But even if Jameson wishes to define utopia in such a way that it is not equated exclusively with a collective, classless form of society, the view of Utopia as actually achievable communism is clearly central to the Marxist tradition and, in particular, to the project of socialist construction represented in Chevengur.
		Jameson's reticence regarding the relation of utopia to communism clearly relates to his reluctance to discuss historical agency.
	victorian.fortunecity.com /holbein/439/bf/review_of_jameson.html (1488 words)

	Jameson Books - Signed, used, new, out-of-print
		Jameson's memoir is many things at once: a shocking sexual history, an insider's guide to the secret workings of the billion-dollar adult-film industry, and a gripping thriller that probes deep into her dark past.
		Jameson Parker, a former TV actor, and his wife get out of the L.A. fast lane and mosey out to the Sierras, where they travel with a band of cowboys, learning about the job and taking notes all the way.
		Jameson elegantly dissects the intricate connections between Bertolt Brecht's drama and his politics, demonstrating the way these combined to shape a unique and powerful influence on a profoundly troubled epoch.
	www.alibris.com /search/books/author/Jameson (999 words)

	Presidential Lectures: Fredric Jameson: Introduction
		Jameson's guiding premise is that cultural artifacts are oblique representations of their historical circumstances, whose concrete social contradictions they variously distort, repress, and transform through the abstractions of aesthetic form.
		Jameson seriously engages numerous non-Marxist approaches to art, identifies their local validities, and deftly adapts their insights to his own purposes.
		Jameson's achievement is all the more remarkable since the academic world in which he trained routinely segregated aesthetics from politics and economics.
	prelectur.stanford.edu /lecturers/jameson (1179 words)

	Journal of Political Ecology (Site not responding. Last check: 2007-10-24)
		The following statement by Frederic Jameson is typical of how metaphors can protect the boundaries of an inner circle of emancipated theorists from intrusion by outsiders grounded in different metanarratives.
		In his essay, "Globalization as Philosophic Issue," Jameson observes that "India is a vast and multiple place indeed, and one finds both modernisms and postmodernisms in full development there." A few sentences later, he asks "Who could be against Difference on the social or even political level?" (pp.
		Except for a brief reference to computers in Frederic Jameson's essay, all of the contributors ignore the role of computers in accelerating the process of globalization.
	dizzy.library.arizona.edu /ej/jpe/volume_6/jamesonmiyoshivol6.htm (1676 words)

	Jameson, Jencks, and Juniors
		Jameson thus argues that in a climate of media-enslaved, uncritical minds incapable of empowering subjectivity, pastiche thrives; postmodern uses of pastiche reflect the extent to which culture and the individual have become media-dominated (Jameson 16).
		Jameson further rationalizes that postmodern usage of pastiche also derives from a "sense in which the artists and writers of the present will no longer be able to invent new styles and worlds --they've already been invented; only a limited number of combinations are possible; the most unique ones have been thought of already"(Jameson 59).
		Jameson's reliance on the example of modernism to distinguish between parody and pastiche exemplifies the extent to which Jameson critically dictates the postmodern according to the "older critical and evaluative categories" of the modernist era.
	www.gwu.edu /~position/marci.html (4353 words)

	[No title]
		It is her hand that is held out for Frederic, which the narrator describes as "something permeating every particle of his skin." It is this very gesture which overwhelms him and discounts the importance of her whole, "authentic" presence.
		The other characters are incapable of this; Madame Arnoux suppresses her love for Frederic in favor of her children and her marriage, Frederic suppresses his desire for her from fear and respect, the Marshallis emptied of desire by her need for financial support.
		For Flaubert, as Jameson points out, political desire--even political principle--is at its best merely "the desire for desire"; at the worst, as here, it is part of the "conservative organic instincts" which, for Freud, "tend towards the restoration of an earlier state of things" and self-preservation (45).
	socrates.berkeley.edu /~kpuckett/202/3_16_04.html (3097 words)

	Jouvert 5.3 -- Robert Clarke, Globalization . . . Review of Frederic Jameson and Masao Miyoshi, The Cultures of ...
		For instance, from the outset, Frederic Jameson's "Preface" characterises globalization as a dis-unified, fractured and fractious terrain.
		Jameson's language may raise eyebrows (it certainly did for Berger), but his is an attempt to develop a definition that is applicable to the fields of economics, culture, governance, without reducing one to a model of the others.
		Jameson charts the range of philosophical issues that arise around the topic of globalization.
	social.chass.ncsu.edu /Jouvert/v5i3/clarke.htm (1382 words)

	Jameson speaks in Presidential Lectures: 1/99 (Site not responding. Last check: 2007-10-24)
		A Marxist in the sense that he emphasizes the connections between the arts and the historical circumstances of their creation and reception, Jameson is known for charting the stylistic and ideological movements in art from realism through modernism and postmodernism.
		On art, Jameson said it is "incorrect and shortsighted to take a moralizing view of sex and violent porn" in art today.
		A humanities for the future, he suggested in closing remarks, requires "these vestiges of the past be swept away or at least recognized and identified for what they are." Then artists, like political innovators, must confront their primary dilemma, he said, which is "the ideology and culture of consumption." SR
	www.stanford.edu /group/news/report/news/1999/january27/jameson127.html (692 words)

	Janus Head GWU - 2001 / Visualizing Culture: Inscription as an Ethnographic Artifact
		Jamesonâs work (1991) addresses the role of video in drastically undermining the most basic processes of signification.
		Jameson credits videoâs unique temporal properties with a profound change in the way we think, producing "that pure and random play of signifiers that we call postmodernism" (p.
		Jameson, F. Postmodernism, or, the cultural logic of late capitalism.
	www.janushead.org /gwu-2001/wolfgram.cfm (4105 words)

	Network Vistas: Folding the Cognitive Map, Dave Ciccoricco
		Abstract (E): Although Frederic Jameson's account of postmodern hyperspace and his accompanying aesthetic of cognitive mapping have found a place in the genealogy of digital literature, Jameson's concept does not adequately articulate the dynamic topology of network space.
		Jameson's disorienting visit to the Bonaventure Hotel in Los Angeles has served as a paradigmatic articulation of "postmodern hyperspace" – an articulation that has found a place in the genealogy of hypertext narrative (referred to here also as "network narrative" to denote a work of fiction that takes the form of a digital network).
		But Jameson ultimately directs his analogy not at physical architectures whose coordinates defy ordinary perception, but rather at social or informational architectures that were never subject to the same design rules.
	www.imageandnarrative.be /issue08/daveciccoricco.htm (4943 words)

	Cognitive Mapping Frederic Jameson
		For Jameson, a cognitive map is “that mental map of the social and global totality we all carry around in our heads in variously garbled forms” (162).
		As a metaphorical example of a cognitive map, Jameson refers to literal maps of cities and to Kevin Lynch’s The Image of the City, which showed that “urban alienation is directly proportional to the mental unmappability of local cityscapes” (163).
		Jameson expands the idea of this mental map we have of our city (or town or whatever), to the larger mental map we have of our world (our cognitive map).
	www.dkrc.org /bib/lis450pt/paper/Jam99.html (628 words)

	Stand Alone Complex - Wikipedia, the free encyclopedia
		Both Frederic Jameson and Oosawa Masachi are prominent political and social theorist.
		As shown in the conversation between Motoko and Aoi, the Stand Alone Complex is in a way originated from social theory.
		Sadly, unlike Fredric Jameson, most work from Oosawa Masachi are not published in the Western society.
	en.wikipedia.org /wiki/Stand_Alone_Complex (2039 words)

	Barnes & Noble.com - Archaeologies of the Future - Fredric Jameson - Hardcover
		Jameson's essential essays, including "The Desire Called Utopia," conclude with an examination of the opposing positions on utopia and an assessment of its political value today.
		Jameson (comparative literature, Duke U.) explores the political currencies enjoyed today by the visions of utopia that are central to science fiction.
		The leading, influential contemporary philosopher Frederic Jameson looks to the literary genre of science fiction for gleanings of the notion of utopia and utopian yearnings in late Modernism.
	btobsearch.barnesandnoble.com /booksearch/isbnInquiry.asp?btob=Y&endeca=1&isbn=1844670333&itm=2 (478 words)

	tribuneindia...Book Reviews
		In his “Signatures of the Visible” Frederic Jameson says that the visual is “essentially pornographic” and the “pornographic films are thus only the potentiation of films in general, which ask us to stare at the world as though it were a naked body”.
		In “Geopolitical Aesthetic”, Jameson analysis crime and detective films from the point of view of the ideology of “Conspiracy plot”, which could be accepted as an extention of the urge to see “beyond” the surface.
		In Jameson’s work there is a tendency to read allegorical meanings in literary and historical texts, and these meanings extend to the formal structures as well.
	www.tribuneindia.com /1998/98dec13/book.htm (5648 words)

	postmodernism (Site not responding. Last check: 2007-10-24)
		Michael Hardt and Antonio Negri follow Frederic Jameson by considering postmodernism as a new "cultural dominant" that follows the logic by which global capital operates.
		(1973 - ?) For Frederic Jameson, postmodernism is "a periodizing hypothesis" at "a moment in which the very conception of historical periodization has come to seem most problematical indeed." (p.3) "Analyzing postmodernism amounts to writing the history of no history.
		According to him, the crises of 1973 (the oil crisis, the end of the international gold standard, for all intents and purposes the end of the great wave of " wars of national liberation" and the beginning of the end of traditional communism) disclosed the existence, already in place, of a strange new landscape....
	www.christianhubert.com /hypertext/postmodernism.html (770 words)

	THE BLANKET * Index: Current Articles
		The best parts of the book are the interviews with Frederic Jameson, Etienne Balibar, Michael Lowy and Terry Eagleton, because all of them have a sophisticated understanding of Marxism and have engaged with Lukacs’s thought over the years.
		In the case of Jameson and Eagleton, one also has to add their brilliant insights into aesthetics and postmodernity.
		Though he is far from being uncritical, Frederic Jameson offers a very interesting defence of Lukacs’s advocacy of realism -something quite unusual as very few today defend Lukacsean realism.
	lark.phoblacht.net /lukacs.html (1534 words)

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