It does not seem particularly controversial to mark the

beginnings of what will come to be called the 60s in the

third world with the great movement of decolonization

in British and French Africa. It can be argued that the

most characteristic expressions of a properly first world

60s are all later than this, whether they are understood

in countercultural terms—drugs and rock — or in the

political terms of a student new left and a mass antiwar

movement. Indeed, politically, a first world 60s owed

much to third-woridism in terms of politicocultural

models, as in a symbolic Maoism, and, moreover, found

its mission in resistance to Wars aimed precisely at

stemming the new revolutionary forces in the third

world.

Fredric Jameson, “Periodizing the 60s.” Social Text.

Number 9/10, Spring-Summer 1984. Pages 178-209.

It is only because we are all so irredeemably locked in

our disciplinary specializations that we fail to see the

similarity of these issues; and the obvious place for

Marxism to reassert its claim to being an interdisciplinary

and a universal science lies within this particular

problematic. Indeed, the privileged status of cultural

studies might be conveyed by the way in which such

textual and interpretive problems are in them more

immediately visible and available for study and reflection

than in more apparently empirical sciences.

Fredric Jameson. The Political Unconscious: Narrative as

a Socially Symbolic Act. London and New York: Routledge

Classics imprint of Taylor & Francis Group, an Informa

PLC business. 2002. Page 23.

… as western readers whose tastes (and much else) have

been formed by our own modernisms, a popular or

socially realistic third-world novel tends to come before

us, not immediately, but as though already-read. We

sense, between ourselves and this alien text, the

presence of another reader, of the Other reader, for

whom a narrative, which strikes us as conventional or

naive, has a freshness of information and a social interest

that we cannot share. The fear and the resistance I’m

evoking has to do, then, with the sense of our own non-

coincidence with that Other reader, so different from

ourselves; our sense that to coincide in any adequate

way with that Other “ideal reader” — that is to say, to

read this text adequately — we would have to give up a

great deal that is individually precious to us and

acknowledge an existence and a situation unfamiliar and

therefore frightening-one that we do not know and

prefer not to know.

Fredric Jameson, “Third-World Literature in the Era of

Multinational Capitalism.” Social Text. Number 15,

autumn 1986. Pages 65-88.

When [Fredric] Jameson elaborates on his grand scheme

of literary interpretation as political unconscious, he

relies heavily on Althusserian structuralist Marxism.

Maoism becomes another theoretical source of

inspiration for Jameson, thanks to the Althusserian

rediscovery of Mao, or reinvention of Maoism. The core

ideas of Maoism for Jameson then include ideology and

cultural revolution, drawing on the experience of the

Chinese Cultural Revolution. [Louis] Althusser serves as

“the major mediator between Jameson’s experiments in

contemporary Marxism and their epochal origins in

Marx’s own thought.” Therefore, Althusserianism is

crucial for understanding Jameson’s interpretations of

Maoism and the Chinese Cultural Revolution. Drawing on

Althusser, Jameson attempts to interpret the Chinese

Cultural Revolution in a theoretical and philosophical

way. Jameson argues that “the concept of cultural

revolution, then, or more precisely, the reconstruction of

the materials of cultural and literary history in the form

of this new ‘text’ or object of study which is cultural

revolution, may be expected to project a whole new

framework for the humanities, in which the study of

culture in the widest sense could be placed on a material

basis.”

Xian Wang, “Traveling Theory: Fredric Jameson’s

Interpretations of the Cultural Revolution and Maoism.”

CLCWeb: Comparative Literature and Culture. Volume 20,

number 3, 2018. Pages 1-7.

Fredric Jameson

Born April 14, 1934Cleveland, Ohio,United States

Alma mater Haverford CollegeYale University

Era 20th-/21st-centuryphilosophy

Region Western philosophy

School Western MarxismMarxisthermeneutics[1]

Maininterests

Postmodernism ·modernism · sciencefiction · utopia ·history · narrative ·cultural studies ·dialectics ·structuralism

Notableideas

Cognitive mapping ·national allegory ·political unconscious

Influences

Fredric JamesonFredric Jameson (born April 14, 1934) is an American literarycritic, philosopher and Marxist political theorist. He is best knownfor his analysis of contemporary cultural trends, particularly hisanalysis of postmodernity and capitalism. Jameson's best-knownbooks include Postmodernism, or, The Cultural Logic of LateCapitalism[3] (1991) and The Political Unconscious (1981).

Jameson is currently Knut Schmidt-Nielsen Professor ofComparative Literature and Romance Studies (French) and thedirector of the Center for Critical Theory at Duke University.[4] In2012, the Modern Language Association gave Jameson its sixthAward for Lifetime Scholarly Achievement.[5]

Life and worksEarly worksResearch into MarxismNarrative and historyCritique of postmodernismRecent workHolberg International Memorial PrizeLyman Tower Sargent Distinguished Scholar AwardInfluence in China

PublicationsSee alsoReferencesFurther reading

Jameson was born in Cleveland, Ohio[6] and graduated in 1950from Moorestown Friends School.[7]

After graduating in 1954 from Haverford College, where hisprofessors included Wayne Booth,[8] he briefly traveled to Europe,studying at Aix-en-Provence, Munich, and Berlin, where helearned of new developments in continental philosophy, includingthe rise of structuralism. He returned to America the following yearto pursue a doctoral degree at Yale University, where he studiedunder Erich Auerbach.

Contents

Life and works

Karl Marx · Vladimir Lenin · Hegel ·Jean-Paul Sartre · Theodor

Adorno · György Lukács · WalterBenjamin · Erich Auerbach ·Kenneth Burke · Raymond

Williams · Northrop Frye · ErnstBloch[2] · Louis Althusser · Philip K.Dick · Ursula K. Le Guin · Darko

Suvin · Frankfurt School

Influenced

Slavoj Žižek · Kim StanleyRobinson · Perry Anderson · Gopal

Balakrishnan · Mark Fisher ·Alexander R. Galloway

Auerbach would prove to be a lasting influence on Jameson'sthought. This was already apparent in Jameson's doctoraldissertation, published in 1961 as Sartre: the Origins of a Style.Auerbach's concerns were rooted in the German philologicaltradition; his works on the history of style analyzed literary formwithin social history. Jameson would follow in these steps,examining the articulation of poetry, history, philology, andphilosophy in the works of Jean-Paul Sartre.

Jameson's work focused on the relation between the style ofSartre's writings and the political and ethical positions of hisexistentialist philosophy. The occasional Marxian aspects ofSartre's work were glossed over in this book; Jameson wouldreturn to them in the following decade.[9]:29–30

Jameson's dissertation, though it drew on a long tradition of European cultural analysis, differed markedlyfrom the prevailing trends of Anglo-American academia (which were empiricism and logical positivism inphilosophy and linguistics, and New Critical formalism in literary criticism). It nevertheless earned Jamesona position at Harvard University, where he taught during the first half of the 1960s.

His interest in Sartre led Jameson to intense study of Marxist literary theory. Even though Karl Marx wasbecoming an important influence in American social science, partly through the influence of the manyEuropean intellectuals who had sought refuge from the Second World War in the United States, such asTheodor Adorno, the literary and critical work of the Western Marxists was still largely unknown inAmerican academia in the late-1950s and early-1960s.[9]:120

Jameson's shift toward Marxism was also driven by his increasing political connection with the New Leftand pacifist movements, as well as by the Cuban Revolution, which Jameson took as a sign that "Marxismwas alive and well as a collective movement and a culturally productive force".[10] His research focused oncritical theory: thinkers of, and influenced by, the Frankfurt School, such as Kenneth Burke, GyörgyLukács, Ernst Bloch, Theodor Adorno, Walter Benjamin, Herbert Marcuse, Louis Althusser, and Sartre,who viewed cultural criticism as an integral feature of Marxist theory. In 1969, Jameson co-founded theMarxist Literary Group with a number of his graduate students at the University of California, SanDiego.[11]

While the Orthodox Marxist view of ideology held that the cultural "superstructure" was completelydetermined by the economic "base", the Western Marxists critically analyzed culture as a historical andsocial phenomenon alongside economic production and distribution or political power relationships. Theyheld that culture must be studied using the Hegelian concept of immanent critique: the theory that adequatedescription and criticism of a philosophical or cultural text must be carried out in the same terms that textitself employs, in order to develop its internal inconsistencies in a manner that allows intellectualadvancement. Marx highlighted immanent critique in his early writings, derived from Hegel's developmentof a new form of dialectical thinking that would attempt, as Jameson comments, "to lift itself mightily up byits own bootstraps".[12]

Early works

Research into Marxism

Narrative and history

History came to play an increasingly central role in Jameson's interpretation of both the reading(consumption) and writing (production) of literary texts. Jameson marked his full-fledged commitment toHegelian-Marxist philosophy with the publication of The Political Unconscious: Narrative as a SociallySymbolic Act, the opening slogan of which is "always historicize" (1981). The Political Unconscious takesas its object not the literary text itself, but rather the interpretive frameworks by which it is now constructed.It emerges as a manifesto for new activity concerning literary narrative.

The book's argument emphasized history as the "ultimate horizon" of literary and cultural analysis. Itborrowed notions from the structuralist tradition and from Raymond Williams's work in cultural studies, andjoined them to a largely Marxist view of labor (whether blue-collar or intellectual) as the focal point ofanalysis. Jameson's readings exploited both the explicit formal and thematic choices of the writer and theunconscious framework guiding these. Artistic choices that were ordinarily viewed in purely aesthetic termswere recast in terms of historical literary practices and norms, in an attempt to develop a systematicinventory of the constraints they imposed on the artist as an individual creative subject. To further this meta-commentary, Jameson described the ideologeme, or "the smallest intelligible unit of the essentiallyantagonistic collective discourses of social classes", the smallest legible residue of the real-life, ongoingstruggles occurring between social classes.[13] (The term "ideologeme" was first used by Mikhail Bakhtinand Pavel Nikolaevich Medvedev in their work The Formal Method in Literary Scholarship and was laterpopularised by Julia Kristeva. Kristeva defined it as "the intersection of a given textual arrangement ... withthe utterances ... that it either assimilates into its own space or to which it refers in the space of exterior texts...".[14])

Jameson's establishment of history as the only pertinent factor in this analysis, which derived the categoriesgoverning artistic production from their historical framework, was paired with a bold theoretical claim. Hisbook claimed to establish Marxian literary criticism, centered in the notion of an artistic mode ofproduction, as the most all-inclusive and comprehensive theoretical framework for understandingliterature.[15] According to Vincent B. Leitch, the publication of The Political Unconscious "renderedJameson the leading Marxist literary critic in America."[16]

In 1984, during his tenure as Professor of Literature and History of Consciousness at the University ofCalifornia, Santa Cruz, Jameson published an article titled "Postmodernism, or, the Cultural Logic of LateCapitalism" in the journal New Left Review. This controversial article, which Jameson later expanded into abook, was part of a series of analyses of postmodernism from the dialectical perspective Jameson haddeveloped in his earlier work on narrative. Jameson viewed the postmodern "skepticism towardsmetanarratives" as a "mode of experience" stemming from the conditions of intellectual labor imposed bythe late capitalist mode of production.

Postmodernists claimed that the complex differentiation between "spheres" or fields of life (such as thepolitical, the social, the cultural, the commercial), and between distinct social classes and roles within eachfield, had been overcome by the crisis of foundationalism and the consequent relativization of truth-claims.Jameson argued against this, asserting that these phenomena had or could have been understoodsuccessfully within a modernist framework; the postmodern failure to achieve this understanding implied anabrupt break in the dialectical refinement of thought.

In his view, postmodernity's merging of all discourse into an undifferentiated whole was the result of thecolonization of the cultural sphere, which had retained at least partial autonomy during the prior modernistera, by a newly organized corporate capitalism. Following Adorno and Horkheimer's analysis of the cultureindustry, Jameson discussed this phenomenon in his critical discussion of architecture, film, narrative, andvisual arts, as well as in his strictly philosophical work.

Critique of postmodernism

Two of Jameson's best-known claims from Postmodernism are that postmodernity is characterized bypastiche and a crisis in historicity. Jameson argued that parody (which implies a moral judgment or acomparison with societal norms) was replaced by pastiche (collage and other forms of juxtaposition withouta normative grounding). Relatedly, Jameson argued that the postmodern era suffers from a crisis inhistoricity: "there no longer does seem to be any organic relationship between the American history welearn from schoolbooks and the lived experience of the current, multinational, high-rise, stagflated city ofthe newspapers and of our own everyday life".

Jameson's analysis of postmodernism attempted to view it as historically grounded; he therefore explicitlyrejected any moralistic opposition to postmodernity as a cultural phenomenon, and continued to insist upona Hegelian immanent critique that would "think the cultural evolution of late capitalism dialectically, ascatastrophe and progress all together".[17] His refusal to simply dismiss postmodernism from the onset,however, was misinterpreted by some Marxist intellectuals as an implicit endorsement of postmodernviews.

Jameson's later writings include Archaeologies of the Future, a study of utopia and science fiction, launchedat Monash University in Melbourne, Australia, in December 2005, and The Modernist Papers (2007), acollection of essays on modernism that is meant to accompany the theoretical A Singular Modernity (2002)as a "source-book". These books, along with Postmodernism and The Antinomies of Realism (2013),[18]

form part of an ongoing study entitled The Poetics of Social Forms, which attempts, in Sara Danius'swords, to "provide a general history of aesthetic forms, at the same time seeking to show how this historycan be read in tandem with a history of social and economic formations".[19] As of 2010, Jameson intendsto supplement the already published volumes of The Poetics of Social Forms with a study of allegoryentitled Overtones: The Harmonics of Allegory.[20] The Antinomies of Realism won the 2014 TrumanCapote Award for Literary Criticism.[21]

Alongside this continuing project, he has recently published three related studies of dialectical theory:Valences of the Dialectic (2009), which includes Jameson's critical responses to Slavoj Žižek, GillesDeleuze, and other contemporary theorists; The Hegel Variations (2010), a commentary on Hegel'sPhenomenology of Spirit; and Representing Capital: A Reading of Volume One (2011), an analysis ofMarx's Das Kapital.

An overview of Jameson's work, Fredric Jameson: Live Theory, by Ian Buchanan, was published in 2007.

In 2008, Jameson was awarded the annual Holberg International Memorial Prize in recognition of hiscareer-long research "on the relation between social formations and cultural forms".[22] The prize, whichwas worth 4.6 million kr (approximately $648,000), was presented to Jameson by Tora Aasland,Norwegian Minister of Education and Research, in Bergen, Norway, on 26 November 2008.[23]

In 2009, Jameson was awarded the Lyman Tower Sargent Distinguished Scholar Award by the NorthAmerican Society for Utopian Studies.

Recent work

Holberg International Memorial Prize

Lyman Tower Sargent Distinguished Scholar Award

Influence in China

Jameson has had influence, on the theorization of the postmodern in China. In mid-1985, shortly after thebeginning of the cultural fever (early 1985 to June Fourth, 1989)—a period in Chinese intellectual historycharacterized in part by intense interest in Western critical theory, literary theory, and related disciplines[24]

—Jameson discussed the idea of postmodernism in China in lectures at Peking University and the newlyfounded Shenzhen University.[25][26] Jameson's ideas as presented at Peking University had an impact onsome students, including Zhang Yiwu and Zhang Xudong, scholars whose work would come to play animportant role in the analysis of postmodernity in China.[27] In 1987 Jameson published a book entitledPostmodernism and Cultural Theories (Chinese: �现代主����理论; pinyin: Hòuxiàndàizhǔyì yǔwénhuà lǐlùn), translated into Chinese by Tang Xiaobing. Although the Chinese intelligentsia's engagementwith postmodernism would not begin in earnest until the nineties, Postmodernism and Cultural Theorieswas to become a keystone text in that engagement; as scholar Wang Ning writes, its influence on Chinesethinkers would be impossible to overestimate.[26] Its popularity may be partially due to the facts that it wasnot written in a dense style and that, because of Jameson's writing style, it was possible to use the text tosupport either praise or criticism of the Chinese manifestation of postmodernity.[26] In Wang Chaohua'sinterpretation of events, Jameson's work was mostly used to support praise, in what amounted to afundamental misreading of Jameson:

The caustic edge of Jameson's theory, which had described postmodernism as "the culturallogic of late capitalism," was abandoned for a contented or even enthusiastic endorsement ofmass culture, which [a certain group of Chinese critics] saw as a new space of popularfreedom. According to these critics, intellectuals, who conceived of themselves as the bearersof modernity, were reacting with shock and anxiety at their loss of control with the arrival ofpostmodern consumer society, uttering cries of "quixotic hysteria," panic-stricken by therealization of what they had once called for during the eighties.[25]

The debate fueled by Jameson, and specifically Postmodernism and Cultural Theories, overpostmodernism was at its most intense from 1994 to 1997, carried on by Chinese intellectuals both insideand outside the mainland; particularly important contributions came from Zhao Yiheng in London, Xu Benin the United States, and Zhang Xudong, also in the United States, who had gone on to study underJameson as a doctoral student at Duke.[25]

Sartre: The Origins of a Style. New Haven: Yale University Press. 1961.Marxism and Form: Twentieth Century Dialectical Theories of Literature. Princeton:Princeton University Press. 1971.The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism.Princeton: Princeton University Press. 1972. for more info see:[1] (https://archive.org/details/prisonhouseoflan0000jame_t8r5)Fables of Aggression: Wyndham Lewis, the Modernist as Fascist. Berkeley: University ofCalifornia Press. 1979. Reissued: 2008 (Verso)The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, N.Y.: CornellUniversity Press. 1981.

Postmodernism and Cultural Theories (Chinese: �现代主����理论; pinyin:Hòuxiàndàizhǔyì yǔ wénhuà lǐlùn). Tr. Tang Xiaobing. Xi'an: Shaanxi Normal UniversityPress. 1987.The Ideologies of Theory. Essays 1971–1986. Vol. 1: Situations of Theory. Minneapolis:University of Minnesota Press. 1988.

Publications

The Ideologies of Theory. Essays 1971–1986. Vol. 2: The Syntax of History. Minneapolis:University of Minnesota Press. 1988.Nationalism, Colonialism, and Literature. Derry: Field Day, 1988. A collection of three FieldDay Pamphlets by Fredric Jameson, Terry Eagleton and Edward Said.Late Marxism: Adorno, or, The Persistence of the Dialectic. London & New York: Verso.1990.Signatures of the Visible. New York & London: Routledge. 1990.Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, NC: Duke UniversityPress. 1991.The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington: IndianaUniversity Press. 1992.The Seeds of Time. The Wellek Library lectures at the University of California, Irvine. NewYork: Columbia University Press. 1994.Brecht and Method. London & New York: Verso. 1998. Reissued: 2011 (Verso)The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. London & New York:Verso. 1998. Reissued: 2009 (Verso)The Jameson Reader. Ed. Michael Hardt and Kathi Weeks. Oxford: Blackwell. 2000.A Singular Modernity: Essay on the Ontology of the Present. London & New York Verso.2002.Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London& New York: Verso. 2005.The Modernist Papers. London & New York Verso. 2007.Jameson on Jameson: Conversations on Cultural Marxism. Ed. Ian Buchanan. Durham, NC:Duke University Press. 2007.The Ideologies of Theory. London & New York: Verso. 2009. (One-volume edition, withadditional essays)Valences of the Dialectic. London & New York: Verso. 2009.The Hegel Variations: On the Phenomenology of Spirit. London & New York: Verso. 2010.Representing 'Capital': A Reading of Volume One. London & New York: Verso. 2011.The Antinomies of Realism. London & New York: Verso. 2013.The Ancients and the Postmoderns: On the Historicity of Forms. London & New York: Verso.2015.An American Utopia: Dual Power and the Universal Army. Ed. Slavoj Žižek. London andNew York: Verso. 2016.Raymond Chandler: The Detections of Totality. London and New York: Verso. 2016.Allegory and Ideology. London and New York: Verso. 2019.The Benjamin Files. London and New York: Verso. 2020.

DialecticDialectical materialismHegelLate capitalismLiterary realismLiterary theoryMarx

MarxismMarxist theoristsModernismPolitical consciousnessPostmodernismPsychoanalytic sociologyUtopia

See also

1. Mohanty, Satya P. "Jameson's Marxist Hermeneutics and the need for an AdequateEpistemology." In Literary Theory and the Claims of History: Postmodernism, Objectivity,Multicultural Politics. Ithaca: Cornell University Press, 1997, pp. 93-115.

2. David Kaufmann, "Thanks for the Memory: Bloch, Benjamin and the Philosophy of History,"in Not Yet: Reconsidering Ernst Bloch, ed. Jamie Owen Daniel and Tom Moylan (Londonand New York: Verson, 1997), p. 33.

3. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, NC: Duke UniversityPress. 1991. p. 438. ISBN 8190340328. OCLC 948832273 (https://www.worldcat.org/oclc/948832273).

4. "Faculty - Program in Literature" (http://literature.duke.edu/people?subpage=profile&Gurl=/aas/Literature&Uil=jamesonu). literature.duke.edu. Retrieved 2 October 2017.

5. "Fredric Jameson to Receive Lifetime Achievement Award" (http://today.duke.edu/2011/12/jamesonaward). Today.duke.edu. Retrieved 2 October 2017.

6. Roberts, Adam (2000). Fredric Jameson (Routledge Critical Thinkers). London: Routledge.p. 2.

7. Bellano, Anthony. "Moorestown Friends School Alum Wins Capote Award for Book onRealism; Frederic Jameson won $30,000 for his book The Antinomies of Realism." (https://patch.com/new-jersey/moorestown/moorestown-friends-school-alum-wins-capote-award-book-realism-0), Moorestown Patch, November 11, 2014. Accessed May 18, 2020.

8. Michael Hardt and Kathi Weeks, "Introduction" to Fredric Jameson, The Jameson Reader,ed. Hardt and Weeks, Oxford: Blackwell, 2000, p. 5.

9. Buchanan, Ian (2006). Fredric Jameson: Live Theory. London and New York: Continuum.10. Fredric Jameson, "Interview with Srinivas Aramudan and Ranjanna Khanna," in Jameson

on Jameson: Conversations on Cultural Marxism, ed. Ian Buchanan (Durham, NC: DukeUniversity Press, 2007), p. 204.

11. "Archived copy" (https://web.archive.org/web/20120308092210/http://mlg.eserver.org/about/a-short-history-of-the-mlg). Archived from the original (http://mlg.eserver.org/about/a-short-history-of-the-mlg) on 2012-03-08. Retrieved 2012-02-09.

12. Jameson, Fredric (1974). Marxism and Form (https://press.princeton.edu/books/paperback/9780691013114/marxism-and-form). Princeton University Press. ISBN 9780691013114.Retrieved 23 October 2020.

13. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca,NY: Cornell UP, 1982., p. 76

14. Kristeva, Julia. "Desire in Language: A Semiotic Approach to Literature and Art". Ed. LeonS. Roudiez. Trans. Thomas Gora, Alice Jardine, and Leon S. Roudiez. New York: ColumbiaUP, 1980. pp. 2, 36.

15. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca,NY: Cornell University Press, 1981, p. 10

16. Vincent B. Leitch, American Literary Criticism from the 1930s to the 1980s, New York:Columbia University Press, p. 382.

17. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, Durham, NC:Duke University Press, 1991, p. 47.

18. Fredric Jameson, The Antinomies of Realism, London and New York: Verso, 2013, p. 11.19. Sara Danius, "About Fredric R. Jameson" (http://www.holbergprisen.no/en/fredric-r-jameson/

about-fredric-r-jameson.html). Cf. Postmodernism xxii; The Modernist Papers x; A SingularModernity, copyright page; Archaeologies of the Future 15n8.

20. Fredric Jameson, The Hegel Variations, London and New York: Verso, 2010, p. 126, n. 41.Cf. Fredric Jameson, The Antinomies of Realism, London and New York: Verso, 2013, p. 37,n. 13.

References

Ahmad, Aijaz. "Jameson's Rhetoric of Otherness and the 'National Allegory'". In In Theory:Classes, Nations, Literatures. London and New York: Verso. 1992. 95-122.Anderson, Perry. The Origins of Postmodernity. London and New York: Verso. 1998.Arac, Jonathan. "Frederic Jameson and Marxism." In Critical Genealogies: HistoricalSituations for Postmodern Literary Studies. New York: Columbia University Press. 1987.261-279.Balakrishnan, Gopal (November–December 2010). "The coming contradiction" (http://newleftreview.org/II/66/gopal-balakrishnan-the-coming-contradiction). New Left Review. New LeftReview. II (66).Buchanan, Ian. Fredric Jameson: Live Theory. London and New York: Continuum. 2006.Burnham, Clint. The Jamesonian Unconscious: The Aesthetics of Marxist Theory. Durham,NC: Duke University Press. 1995.Carp, Alex. "On Fredric Jameson." (http://www.jacobinmag.com/2014/03/on-fredric-jameson/) Jacobin (magazine) (March 5, 2014).Davis, Mike (May–June 1985). "Urban renaissance and the spirit of postmodernism" (http://newleftreview.org/I/151/mike-davis-urban-renaissance-and-the-spirit-of-postmodernism). NewLeft Review. New Left Review. I (151): 106–113.Day, Gail. Dialectical Passions: Negation in Postwar Art Theory. New York: ColumbiaUniversity Press. 2011.Dowling, William C. Jameson, Althusser, Marx: an Introduction to the Political Unconscious.Ithaca: Cornell University Press. 1984.Eagleton, Terry. "Fredric Jameson: the Politics of Style." In Against the Grain: SelectedEssays 1975-1985. London: Verso, 1986. 65-78.Eagleton, Terry (September–October 2009). "Jameson and Form" (http://newleftreview.org/II/59/terry-eagleton-jameson-and-form). New Left Review. New Left Review. II (59): 123–137.

21. "Fredric Jameson receives Truman Capote Award" (http://now.uiowa.edu/2014/05/fredric-jameson-receives-truman-capote-award), Iowa Now, May 23, 2014.

22. "Professor Fredric R. Jameson awarded Holberg Prize 2008" (http://www.norway.org/ARCHIVE/restech/holberg_2008/). Norway.org. 16 September 2008. Retrieved 2011-08-04.

23. "American cultural theorist awarded the Holberg Prize" (http://www.norway.org/ARCHIVE/Education/educationnews/holbergprisen_2008/). Ministry of Foreign Affairs (Norway).Retrieved 2011-08-04.

24. Zhang, Xudong (Summer 1994). "On some motifs in the Chinese "Cultural Fever" of the late1980s: social change, ideology, and theory". Social Text. Duke University Press. 39 (39):129–156. doi:10.2307/466367 (https://doi.org/10.2307%2F466367). JSTOR 466367 (https://www.jstor.org/stable/466367).

25. Hui, Wang (2003), "Introduction: minds of the nineties", in Wang, Chaohua (ed.), One China,many paths, London New York: Verso, pp. 9–37, ISBN 9781844675357. Preview. (https://books.google.co.uk/books?id=LPE541jyjfgC&pg=PA9)

26. Wang Ning. "The Mapping of Chinese Postmodernity." Postmodernism and China. Ed. ArifDirlik and Xudong Zhang. Durham: Duke University Press, 2001.

27. Hui, Wang (2003), "The new criticism", in Wang, Chaohua (ed.), One China, many paths,London New York: Verso, pp. 55–87, ISBN 9781844675357. Preview. (https://books.google.co.uk/books?id=LPE541jyjfgC&pg=PA55)

Previously published, in an earlier version, as Hui, Wang (November–December 2000)."Fire at the castle gate" (http://newleftreview.org/II/6/wang-hui-fire-at-the-castle-gate).New Left Review. New Left Review. II (6): 69–99.

Further reading

Gatto, Marco. Fredric Jameson: neomarxismo, dialettica e teoria della letteratura. SoveriaMannelli: Rubbettino. 2008.Helmling, Stephen. The Success and Failure of Fredric Jameson: Writing, the Sublime, andthe Dialectic of Critique. Albany: State University of New York Press. 2001.Homer, Sean. Fredric Jameson: Marxism, Hermeneutics, Postmodernism. New York:Routledge. 1998.Hullot-Kentor, Robert. "Suggested Reading: Jameson on Adorno". In Things BeyondResemblance: Collected Essays on Theodor W. Adorno. New York: Columbia UniversityPress, 2008. 220-233.Irr, Caren and Ian Buchanan, eds. On Jameson: From Postmodernism to Globalization.Albany: State University of New York Press. 2005.Kellner, Douglas, ed. Jameson/Postmodernism/Critique. Washington, DC: MaisonneuvePress. 1989.Kellner, Douglas, and Sean Homer, eds. Fredric Jameson: a Critical Reader. New York:Palgrave Macmillan. 2004.Kunkel, Benjamin. "Into the Big Tent". London Review of Books 32.8 (April 22, 2010). 12-16.LaCapra, Dominick. "Marxism in the Textual Maelstrom: Fredric Jameson's The PoliticalUnconscious." In Rethinking Intellectual History. Ithaca: Cornell University Press. 1983. 234-267.Link, Alex. "The Mysteries of Postmodernism, or, Fredric Jameson's Gothic Plots."Theorising the Gothic. Eds. Jerrold E. Hogle and Andrew Smith. Special issue of GothicStudies 11.1 (2009): 70-85.Millay, Thomas J. "Always Historicize! On Fredric Jameson, the Tea Party, and TheologicalPragmatics." The Other Journal (http://theotherjournal.com) 22 (2013).Osborne, Peter. "A Marxism for the Postmodern? Jameson's Adorno". New German Critique56 (1992): 171-192.Roberts, Adam. Fredric Jameson. New York: Routledge, 2000.Iona Singh (2004) Vermeer, materialism, and the transcendental in art, Rethinking Marxism,16:2, 155-171, DOI: 10.1080/08935690410001676212Tally, Robert T. Fredric Jameson: The Project of Dialectical Criticism. London: Pluto, 2014.Tally, Robert T. "Jameson's Project of Cognitive Mapping." In Social Cartography: MappingWays of Seeing Social and Educational Change. Ed. Rolland G. Paulston. New York:Garland, 1996. 399-416.Weber, Samuel. "Capitalising History: Notes on The Political Unconscious." In The Politicsof Theory. Ed. Francis Barker, Peter Hulme, Margaret Iversen, and Diana Loxley. Colchester:University of Essex Press. 1983. 248-264.West, Cornel. "Fredric Jameson's Marxist Hermeneutics." Boundary 2 11.1-2 (1982–83).177-200.White, Hayden. "Getting Out of History: Jameson's Redemption of Narrative." In The Contentof the Form: Narrative Discourse and Historical Representation. Baltimore: Johns HopkinsUniversity Press. 1987. 142-168.

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