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Postmodernism, or, The Cultural Logic of Late Capitalism on JSTOR. FREDRIC JAMESON. Series: Copyright Date: 1991. Published by: Duke University Press. Pages: 461. https://www.jstor.org/stable/j.ctv12100qm. Select all. (For EndNote, Zotero, Mendeley) (For BibTex) Front Matter. (pp. i-vi) Front Matter. (pp. i-vi)
- Postmodernism or the Cultural Logic of Late Capitalism'
Postmodernism or the Cultural Logic of Late Capitalism'...
- Postmodernism or the Cultural Logic of Late Capitalism'
Postmodernism, or, the Cultural Logic of Late Capitalism is a 1991 book by Fredric Jameson, in which the author offers a critique of modernism and postmodernism from a Marxist perspective. The book began as a 1984 article in the New Left Review.
- Fredric Jameson
- 461
- 1991
- 1991
- The Rise of Aesthetic Populism
- Postmodernism as Cultural Dominant
- ‘Peasant Shoes’
- ‘Diamond Dust Shoes’
- The Waning of Affect
- Euphoria and Self-Annihilation
- Pastiche Eclipses Parody
- ‘Historicism’ Effaces History
- The Fate of ‘Real History’
- Loss of the Radical Past
- III. The Breakdown of the Signifying Chain
- ‘China’
- Bridges among water.
- Collage and Radical Difference
- IV. The Hysterical Sublime
- V. Post-Modernism and the City
- The Bonaventura Hotel
- The New Machine
- VI. The Abolition of Critical Distance
- The Need for Maps
- Social Cartography and Symbol
It is in the realm of architecture, however, that modifications in aesthetic production are most dramatically visible, and that their theoretical problems have been most centrally raised and articulated; it was indeed from architectural debates that my own conception of postmodernism— as it will be outlined in the following pages—initially began to...
A last preliminary word on method: what follows is not to be read as stylistic description, as the account of one cultural style or movement among others. I have rather meant to offer a periodizing hypothesis, and that at a moment in which the very conception of historical periodization has come to seem most problematical indeed. I have argued else...
We will begin with one of the canonical works of high modernism in visual art, Van Gogh’s well-known painting of the peasant shoes, an example which as you can imagine has not been innocently or randomly chosen. I want to propose two ways of reading this painting, both of which in some fashion reconstruct the reception of the work in a two-stage or...
At any rate, both of these readings may be described as hermeneutical, in the sense in which the work in its inert, objectal form, is taken as a clue or a symptom for some vaster reality which replaces it as its ultimate truth. Now we need to look at some shoes of a different kind, and it is pleasant to be able to draw for such an image on the rece...
All of which brings me to the third feature I had in mind to develop here briefly, namely what I will call the waning of affect in postmodern culture. Of course, it would be inaccurate to suggest that all affect, all feeling or emotion, all subjectivity, has vanished from the newer image. Indeed, there is a kind of return of the repressed in Diamon...
Returning now for one last moment to Munch’s painting, it seems evident that The Scream subtly but elaborately deconstructs its own aesthetic of expression, all the while remaining imprisoned within it. Its gestural content already underscores its own failure, since the realm of the sonorous, the cry, the raw vibrations of the human throat, are inc...
The disappearance of the individual subject, along with its formal consequence, the increasing unavailability of the personal style, engender the well-nigh universal practice today of what may be called pastiche. This concept, which we owe to Thomas Mann (in Doktor Faustus), who owed it in turn to Adorno’s great work on the two paths of advanced mu...
This situation evidently determines what the architecture historians call ‘historicism’, namely the random cannibalization of all the styles of the past, the play of random stylistic allusion, and in general what Henri Lefebvre has called the increasing primacy of the ‘neo’. This omnipres-ence of pastiche is, however, not incompatible with a certai...
As for ‘real history’ itself—the traditional object, however it may be defined, of what used to be the historical novel—it will be more revealing now to turn back to that older form and medium and to read its postmodern fate in the work of one of the few serious and innovative Left novelists at work in the United States today, whose books are nouri...
Meanwhile, the sentences in which all this is happening have their own specificity, which will allow us a little more concretely to distinguish the moderns’ elaboration of a personal style from this new kind of linguistic innovation, which is no longer personal at all but has its family kinship rather with what Barthes long ago called ‘white writin...
The crisis in historicity now dictates a return, in a new way, to the question of temporal organization in general in the postmodern force field, and indeed, to the problem of the form that time, temporality and the syntagmatic will be able to take in a culture increasingly dominated by space and spatial logic. If, indeed, the subject has lost its ...
What will happen in textuality or schizophrenic art is strikingly illuminated by such clinical accounts, although in the cultural text, the isolated Signifier is no longer an enigmatic state of the world or an incomprehensible yet mesmerizing fragment of language, but rather something closer to a sentence in free-standing isolation. Think, for exam...
* Marguerite Séchehaye, Autobiography of a Schizophrenic Girl, trans. by G. Rubin-Rabson, New York 1968, p.19. Folks straggling along vast stretches of concrete, heading into the plane. Don’t forget what your hat and shoes will look like when you are nowhere to be found. Even the words floating in air make blue shadows. If it tastes good we eat it....
This account of schizophrenia and temporal organization might, how-ever, have been formulated in a different way, which brings us back to Heidegger’s notion of a gap or rift, albeit in a fashion that would have horrified him. I would like, indeed, to characterize the postmodernist experience of form with what will seem, I hope, a paradoxical slogan...
Now we need to complete this exploratory account of postmodernist space and time with a final analysis of that euphoria or those intensities which seem so often to characterize the newer cultural experience. Let us stress again the enormity of a transition which leaves behind it the desolation of Hopper’s buildings or the stark Midwest syntax of Sh...
Now, before I try to offer a somewhat more positive conclusion, I want to sketch the analysis of a full-blown postmodern building—a work which is in many ways uncharacteristic of that postmodern architecture whose principal names are Robert Venturi, Charles Moore, Michael Graves, and more recently Frank Gehry, but which to my mind offers some very ...
The building whose features I will very rapidly enumerate in the next few moments is the Bonaventura Hotel, built in the new Los Angeles downtown by the architect and developer John Portman, whose other works include the various Hyatt Regencies, the Peachtree Center in Atlanta, and the Renaissance Center in Detroit. I have mentioned the populist as...
But as I am anxious that Portman’s space not be perceived as something either exceptional or seemingly marginalized and leisure-specialized on the order of Disneyland, I would like in passing to juxtapose this complacent and entertaining (although bewildering) leisure-time space with its analogue in a very different area, namely the space of postmo...
The conception of postmodernism outlined here is a historical rather than a merely stylistic one. I cannot stress too greatly the radical distinction between a view for which the postmodern is one (optional) style among many others available, and one which seeks to grasp it as the cultural dominant of the logic of late capitalism: the two approache...
But if all this is so, then at least one possible form of a new radical cultural politics becomes evident: with a final aesthetic proviso that must quickly be noted. Left cultural producers and theorists—particu-larly those formed by bourgeois cultural traditions issuing from romanticism and valorizing spontaneous, instinctive or unconscious forms ...
Transcoding all this now into the very different problematic of the Althusserian definition of ideology, one would want to make two points. The first is that the Althusserian concept now allows us to rethink these specialized geographical and cartographic issues in terms of social space, in terms, for example, of social class and national or intern...
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10. Feb. 2022 · Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature. Addeddate.
Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. More about this series. Book Pages: 460 Illustrations: 24 illustrations, 8 in color Published: November 1990. Author: Fredric Jameson. Subjects. Literature and Literary Studies > Literary Theory, Theory and Philosophy > Critical Theory, Cultural Studies.
- Fredric Jameson
22. Juli 2013 · About this book. Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.
