File Name: fredric jameson history and class consciousness as an unfinished project .zip
He was one of the founders of Western Marxism , an interpretive tradition that departed from the Marxist ideological orthodoxy of the Soviet Union. 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.
His current projects include essays on Beethoven's Fidelio , administrative music research, and Nietzsche's gratitude to Wagner, and a longer study of German music on trial. He is the author of Deep Refrains: Music, Philosophy, and the Ineffable University of Chicago Press, and of over a dozen published articles and essays on music and philosophy. As a musician he has worked in a variety of genres from avant-garde composition and experimental improvisation to rock music and West African electronica.
Modernism and Imperialism by Fredric Jameson
This is a time in which, at least in part owing to what is called post-modernism, there seems to be renewed interest in finding out what modernism really was, and in rethinking that now historical phenomenon in new ways, which are not those we have inherited from the participants and the players, the advocates and the practitioners themselves. But this has also been a time, over perhaps an even longer span of years, in which the matter of what imperialism still is and how it functions has been a subject of intense debate and discussion among the theorists, and not only the economists, the historians and the political scientists. A range of very complex theories and models indeed — probably more incomprehensible than most forms of contemporary literary theory — have come into being which any serious discussion of this issue has to acknowledge. Any discussion of the relationship of modernism and imperialism will therefore generally require, not one, but two lengthy preambles, before it reaches its topic. The hypothesis to be explored here is both more formalistic and more sweeping than the affirmation that imperialism as such produced its specific literature and left palpable traces on the content of other metropolitan literary works of the period. This last has of course multiple social determinants: any general theory of the modern — assuming one to be possible in the first place — would also wish to register the informing presence of a range of other, historically novel phenomena: modernization and technology; commodity reification; monetary abstraction and its effects on the sign system; the social dialectic of reading publics; the emergence of mass culture; the embodiment of new forms of the psychic subject on the physical sensorium.
Used by permission of the publisher, Cornell University Press. This book will argue the priority of the political interpretation of literary texts. Today this properly antiquarian relationship to the cultural past has a dialectical counterpart which is ultimately no more satisfactory; I mean the tendency of much contemporary theory to rewrite selected texts from the past in terms of its own aesthetic and, in particular, in terms of a modernist or more properly post-modernist conception of language. Our presupposition, in the analyses that follow, will be that only a genuine philosophy of history is capable of respecting the specificity and radical difference of the social and cultural past while disclosing the solidarity of its polemics and passions, its forms, structures, experiences, and struggles, with those of the present day. But genuine philosophies of history have never been numerous, and few survive in workable, usable form in the contemporary world of consumer capitalism and the multinational system. My position here is that only Marxism offers a philosophically coherent and ideologically compelling resolution to the dilemma of historicism evoked above. Only Marxism can give us an adequate account of the essential mystery of the cultural past, which, like Tiresias drinking the blood, is momentarily returned to life and warmth and allowed once more to speak, and to deliver its long-forgotten message in surroundings utterly alien to it.
A Marx revival seems to be under way, predating the current disarray on Wall Street, even though no clear-cut political options yet seem to propose themselves. The big ideological issues—anarchism, the party, economic planning, social classes—are still mainly avoided, on the grounds that they remind too many people of Communist propaganda. Such a reminder is unwanted, not so much because it is accompanied by the memory of deaths and violence memory is fragile in postmodernity as simply and less dramatically because such topics now appear boring. On the face of it, then, it does not seem plausible to welcome a book which, somewhat in the Althusserian vein of yesteryear, implacably denounces the idealistic deviations and doctrinal errors, the ideological misappropriations and misguided revisions of thinkers widely supposed to have some Marxian pedigree or relevance for younger would-be Marxists today. It is a tireless catalogue of what I will call Marx-avoidance, which for all its unremitting zeal remains oddly non-partisan. Henning does not seem to speak from any easily identifiable political or ideological position, although his philosophical bias would seem to be a kind of Wittgensteinian Kantianism, appropriate enough for this intellectual operation.
Although overlooked by critics, the literary-theoretical specificity of HCC is hiding in plain sight. For the present essay, recognition is to be understood as dramatic or narrative anagnorisis , not as intersubjectivity or Neo-Hegelian acknowledgment. Anagnorisis occurs when Oedipus discovers his true breeding and finds his past to be steeped in incest and parricide. This retrospective self-knowledge is not to be confused with the subsequent scene where Oedipus, having gouged out his eyes and re-emerged a transformed figure, foists on the Chorus a demand for acknowledgment of his outrageous sufferings. Another familiar shorthand for recognition, the master-slave dialectic in Hegel, also will not do here.
first offered by Fredric Jameson in his early book Marxism and Form: Twentieth-Century stresses the necessarily unfinished nature of projects, like the dialectic, whose labors are s, History and Class Consciousness.
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Every generation, it seems, discovers its own Hegel. This proposition has to be understood in three ways. Not only does every generation seems to find its own concerns anticipated in Hegel. Modernity tirelessly reinvents the central motifs of the Hegelian philosophy even in the same breath with which it declares that philosophy to be definitively superseded. And every generation also locates a philosophy who seems to embody the 'cultural logic' of the moment — a characteristic philosophy which is seen to embody the cultural logic of the period.
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Critical Theory and Political Engagement pp Cite as.
Ты знаешь, что я не могу… Она фыркнула и снова повернулась к клавиатуре. - Я распечатаю список. Войду, возьму его и тотчас выйду. Давай ключ. - Мидж… Она прекратила печатать и повернулась к .
Когда серебряный кубок оказался на уровне его глаз, возникло какое-то движение, и в полированной поверхности смутно отразилась приближающаяся фигура. Беккер заметил металлический блеск в тот самый миг, когда убийца поднимал пистолет, и, как спринтер, срывающийся с места при звуке стартового выстрела, рванулся. Насмерть перепуганный священник упал, чаша взлетела вверх, и красное вино разлилось по белому мрамору пола. Монахи и служки у алтаря бросились врассыпную, а Беккер тем временем перемахнул через ограждение.
Немец лежит в постели и ждет. Самый крупный мужчина из всех, с кем ей приходилось иметь. Нарочито медленно она взяла из ведерка кубик льда и начала тереть им соски.
Даже те, кто использовал электронную почту лишь для развлечения, занервничали из-за вторжения в их частную жизнь. Корпоративные программисты во всем мире озаботились решением проблемы безопасности электронной почты. В конце концов оно было найдено - так родился доступный широкой публике способ кодирования.
И не похоже, что… - Что? - Бринкерхофф даже подпрыгнул. Мидж смотрела на цифры, не веря своим глазам. - Этот файл, тот, что загрузили вчера вечером… - Ну .
Итак, кольцо взял немец. - Верно. - Куда он делся. - Понятия не имею. Я побежал позвонить в полицию.
Панк сплюнул в проход, явно раздраженный невежеством собеседника. - Табу Иуда. Самый великий панк со времен Злого Сида. Ровно год назад он разбил здесь себе голову.
И все же он отдал кольцо, - сказал Фонтейн.