Fredric Jameson詹明信
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Ⅱ. Features of postmodernism
1. Postmodernism is said to be a culture of pastiche;a culture, marked by "complacent play of historical allusion". pastiche &parody They both involve imitation and mimicry. parody:an "ulterior motive, to mock a divergence from convention or a norm; pastiche:a "blank parody" or "empty copy", netural practice of mimicry. postmodern culture: It is a culture of quotations; cultural production born out of previous cultural production. Therefore, it is a culture "of flatness or depthless, a new kind of superficiality in the most literal sense." example——nostalgia films •time: from the 1980s and 1990s; •purpose: to recapture the atmosphere and stylistic peculiarities of American in the 1950s. Page 4 •1950s:He claims that "for Americans at least, the 1950s
ⅱ. Jameson——a failure to be truly historical; Peter Brooker and Will Brooker——a new historical sense, caused by the shared pleasure of intertextual recognition, the critical effect of play with narrative conventions,character and cultural stereotypes, and the power of nostalgia. e.g.:Quentin Tarantino's films They present an 'aesthetic of recycling, an affirmative "bringing back to life", a "making new"'. ⅲ. Part of postmodern feature of Western societies is that the old is recycled for circulation together with the new. text &technologies "array" This intertextuality reflects changes in terms of audience competence and narrative technique, as well as a fundamental shift in what constitutes both entertainment and cultural literacy. narrative action operates at two ways character adventure a text's adventures
Two sources of his argument:
Ernest Mandel——capitalism's three-stage development a. market capitalism b. monopoly capitalism liner model c. late or multinational capitalism
3. Postmodernism is a hopelessly commercial culture.
ⅱ. Herbert Marcuse •term: "affirmative culture", the culture or cultural space which emerged with the separation of "culture" and "civilization"; •time: culture of the bourgeois epoch; •characteristic: the assertion of a universally obligatory, eternally better and more valuable world that must be unconditionally affirmed; •purpose: to be refreshed and renewed ,to continue with the ordinary affairs of everyday life; •result: a new reality; makes an unbearable condition bearable by soothing the pain of existence; •resolution: illusory; ⅲ. Ernesto Laclau& Chantal Mouffe •They recognize the possibility of agency. Although it is a "consumer" society, it does not mean the end of ideology, or the creation of a one-demensional man. Numerous new struggles occur within the heart of the new society. •The new cultural forms links to the expansion of the means of mass communication. It works like a double-edged sword, containing the power of massification and uniformization, as well as the elements for subversion.
Fredric——cultural development a. realism b. modernism tripartite schema c. postmodernism Raymond Williams——social formation a. dominant b. emergent c. residual He argues that the move from one historical period to another does not usually involve the complete collapse of one cultural mode. In a given social formation, therefore, different cultural modes will exist but only one will be dominant.
Fredric Jameson
Βιβλιοθήκη Baidu
• Fredric Jameson (born on 14 April, 1934) is
an American literary critic and Marxist political theorist who is best known for his analysis of postmodernism. His view differs from others in his insistence that postmodernism can best be theorized from within a Marxist or neo-Marxist framework. Ⅰ. Periodizing concept(分期概念) To him, postmodernism is "the culture dominant" of late and multinational capitalism.
2.second feature——cultural "schizophrenia"精神分 裂症
•The term is used in the sense developed by Lacan, to signify a language disorder, a failure of the temporal relationship between signifiers. past-present-future(×) an intensified sense of the present perpetual present(√)
typical films:
It is metonymically a ... nostalgia film...by reinventing the feel and the shape of characteristic art objects of an older period.
•common point: They evoke metonymically a sense of the narrative certainties of the past. •two ways: ⅰ. It recaptures and represents the atmosphere and stylistic features of the past; ⅱ. It recaptures and represents certain styles of viewing the past. •result: "false realism". films "in which the history of aesthetic styles displaces "real" history.
•Postmodernism "replicates and reproduces-reinforces -the logic of consumer capitalism". Culture is itself an economic activity. the distinction between high and popular culture collapse the distinction between the realm of culture and economic activity Marked by "essential triviality", postmodern culture blocks "a socialist transformation of society". Jameson's argument drifts to the standard Frankfurt School critique of popular culture. •The reason of collapse lies in the lost of modernism's "critical space", which is achieved by what he calls "explosion". •Through the "culturalization" and "aestheticization" of everyday life, there is no longer a critical space from which to be incorporated or coopted. As a result, "incorporation" or "co-optation" makes no sense. This is Frankfurt School pessimism at its most pessimistic. ⅰ. Grossberg He emphasizes the importance of new "maps". ① the mass remain mute , cultural dupes rely on deceieve ② the critic, as the only one capable of understanding ideology
the experience of the present:powerful, vivid and material desirable experience: felt at a loss, as "unreality" •Postmodern culture is called "schizophrenia" as it has lost its sense of history. The "temporal" culture of modernism has given way to the "spatial" culture of postmodernism. •Jim Collins He has identified a similar trend in recent cinema, "emergent type of genericity": popular films which "quote" other films,self-consciously making reference to and borrowing from different genres of film. ⅰ. view: insistence on "agency"
Ⅱ. Features of postmodernism
1. Postmodernism is said to be a culture of pastiche;a culture, marked by "complacent play of historical allusion". pastiche &parody They both involve imitation and mimicry. parody:an "ulterior motive, to mock a divergence from convention or a norm; pastiche:a "blank parody" or "empty copy", netural practice of mimicry. postmodern culture: It is a culture of quotations; cultural production born out of previous cultural production. Therefore, it is a culture "of flatness or depthless, a new kind of superficiality in the most literal sense." example——nostalgia films •time: from the 1980s and 1990s; •purpose: to recapture the atmosphere and stylistic peculiarities of American in the 1950s. Page 4 •1950s:He claims that "for Americans at least, the 1950s
ⅱ. Jameson——a failure to be truly historical; Peter Brooker and Will Brooker——a new historical sense, caused by the shared pleasure of intertextual recognition, the critical effect of play with narrative conventions,character and cultural stereotypes, and the power of nostalgia. e.g.:Quentin Tarantino's films They present an 'aesthetic of recycling, an affirmative "bringing back to life", a "making new"'. ⅲ. Part of postmodern feature of Western societies is that the old is recycled for circulation together with the new. text &technologies "array" This intertextuality reflects changes in terms of audience competence and narrative technique, as well as a fundamental shift in what constitutes both entertainment and cultural literacy. narrative action operates at two ways character adventure a text's adventures
Two sources of his argument:
Ernest Mandel——capitalism's three-stage development a. market capitalism b. monopoly capitalism liner model c. late or multinational capitalism
3. Postmodernism is a hopelessly commercial culture.
ⅱ. Herbert Marcuse •term: "affirmative culture", the culture or cultural space which emerged with the separation of "culture" and "civilization"; •time: culture of the bourgeois epoch; •characteristic: the assertion of a universally obligatory, eternally better and more valuable world that must be unconditionally affirmed; •purpose: to be refreshed and renewed ,to continue with the ordinary affairs of everyday life; •result: a new reality; makes an unbearable condition bearable by soothing the pain of existence; •resolution: illusory; ⅲ. Ernesto Laclau& Chantal Mouffe •They recognize the possibility of agency. Although it is a "consumer" society, it does not mean the end of ideology, or the creation of a one-demensional man. Numerous new struggles occur within the heart of the new society. •The new cultural forms links to the expansion of the means of mass communication. It works like a double-edged sword, containing the power of massification and uniformization, as well as the elements for subversion.
Fredric——cultural development a. realism b. modernism tripartite schema c. postmodernism Raymond Williams——social formation a. dominant b. emergent c. residual He argues that the move from one historical period to another does not usually involve the complete collapse of one cultural mode. In a given social formation, therefore, different cultural modes will exist but only one will be dominant.
Fredric Jameson
Βιβλιοθήκη Baidu
• Fredric Jameson (born on 14 April, 1934) is
an American literary critic and Marxist political theorist who is best known for his analysis of postmodernism. His view differs from others in his insistence that postmodernism can best be theorized from within a Marxist or neo-Marxist framework. Ⅰ. Periodizing concept(分期概念) To him, postmodernism is "the culture dominant" of late and multinational capitalism.
2.second feature——cultural "schizophrenia"精神分 裂症
•The term is used in the sense developed by Lacan, to signify a language disorder, a failure of the temporal relationship between signifiers. past-present-future(×) an intensified sense of the present perpetual present(√)
typical films:
It is metonymically a ... nostalgia film...by reinventing the feel and the shape of characteristic art objects of an older period.
•common point: They evoke metonymically a sense of the narrative certainties of the past. •two ways: ⅰ. It recaptures and represents the atmosphere and stylistic features of the past; ⅱ. It recaptures and represents certain styles of viewing the past. •result: "false realism". films "in which the history of aesthetic styles displaces "real" history.
•Postmodernism "replicates and reproduces-reinforces -the logic of consumer capitalism". Culture is itself an economic activity. the distinction between high and popular culture collapse the distinction between the realm of culture and economic activity Marked by "essential triviality", postmodern culture blocks "a socialist transformation of society". Jameson's argument drifts to the standard Frankfurt School critique of popular culture. •The reason of collapse lies in the lost of modernism's "critical space", which is achieved by what he calls "explosion". •Through the "culturalization" and "aestheticization" of everyday life, there is no longer a critical space from which to be incorporated or coopted. As a result, "incorporation" or "co-optation" makes no sense. This is Frankfurt School pessimism at its most pessimistic. ⅰ. Grossberg He emphasizes the importance of new "maps". ① the mass remain mute , cultural dupes rely on deceieve ② the critic, as the only one capable of understanding ideology
the experience of the present:powerful, vivid and material desirable experience: felt at a loss, as "unreality" •Postmodern culture is called "schizophrenia" as it has lost its sense of history. The "temporal" culture of modernism has given way to the "spatial" culture of postmodernism. •Jim Collins He has identified a similar trend in recent cinema, "emergent type of genericity": popular films which "quote" other films,self-consciously making reference to and borrowing from different genres of film. ⅰ. view: insistence on "agency"