Now. The "unconscious" to which Jameson speaks is "history" and its class conflicts. On one level, I like Jameson a lot.
I'll admit I skimmed the final chapters once I grasped the methodology (which, it seems, Jameson himself did not fully demonstrate in his demonstration chapters).
At the time Jameson was actually writing the book, in the mid to late seventies, there was a major reaction against deconstruction and poststructuralism. As one of the most significant literary theorists, Jameson found himself in the unenviable position of wanting to defend his intellectual past yet keep an eye on the future. To put it in terms condensed to the verge of crudeness, Jameson draws on and juxtaposes two basic theories of historicity, one personalI concur with the urge to "always histories" as the mean to position ourselves as potential agencies. I'll admit I skimmed the final chapters once I grasped the methodology (which, it seems, Jameson himself did not fully demonstrate in his demonstration chapters). Regardless, I think this is an important work that helps expand my thinking about the how and why behind literary and cultural analysis. We’d love your help.
0415287510 History as a Lévi-Straussian Savage Thinker: Greimas squares for everybody!As one of the few great Marxists left in the US, i.e. The Political Unconscious.
Now I read the whole thing and I understand 5 percent. Fredric Jameson.
His arguments for the primacy of Marxist thinking were interesting, and I'll have to see if I can come up with a good counterargument or not. (124)As for contemporary (for the 1980s) interest in theorizing the “decentered subject,” Jameson writes, “For Marxism, indeed, only the emergence of a post-individualistic social world, only the reinvention of the collective and associative, can concretely achieve the ‘decentering’ of the individual subject called for by such diagnoses; only a new and original form of collective social life can overcome the isolation and monadic autonomy of the older bourgeois subjects in such a way that individual consciousness can be lived—and not merely theorized—as an ‘effect of structure’” (125).
“[The problem is one of] transcending the categories into which our existence as individual subjects necessarily locks us and opening up to the radically distinct transindividual perspectives of collective life or historical process.” (116)Generally speaking, Jameson argues that much criticism merely “rewrites” selected texts into a form that (unselfconsciously) reflects a critic’s own aesthetics and concepts of language (17).
But Jameson is never only speaking of Marxism, literature, or criticism. Defining a mode of criticism and applying it successfully to individual works, it bridges the gap between theoretical speculation and textual analysis.
I give this my highest recommendation. Dense with theory and abstract concepts, Jameson’s description of the kind of I find the first chapter of this book the most difficult, but I have re-read it several times. The Political Unconscious is a fable, an historical approach that disseminates, and disrupts the fixed political schemas in a valient and elegant attempt at rousing readers from the slumber in which we are , however unconsciously, shrouded. Jameson's best-known books include Postmodernism:
On one level, I like Jameson a lot. Prettttttty pretty pretty pretty good. Goodreads helps you keep track of books you want to read.
Post was not sent - check your email addresses! Het nadeel aan dit boek is dat het enorm gecompliceerd is geschreven, waardoor je vaak moet terugbladeren en het je niet kunt veroorloven om je hoofd er niét bij te houden. Author : Fredric Jameson ISBN : 0415287510
Notes by Steven J. Venturino, aprofessorintheory.com On dialectic and genre (chapters 1 and 2): “[The problem is one of] transcending the categories into which our existence as individual subjects necessarily locks us and opening up to the radically distinct transindividual perspectives…
The Political Unconscious.
The Political Unconscious.
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