The Philosopher
Fredric Jameson
The face
The background
- Nationality:
- American
- Schools:
- Western Marxism, Marxist hermeneutics
- Period:
- Contemporary philosophy
The synopsis
The works
Sartre: The Origins of a Style
Marxism and Form: Twentieth Century Dialectical Theories of Literature
The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism
Fables of Aggression: Wyndham Lewis, the Modernist as Fascist
The Political Unconscious: Narrative as a Socially Symbolic Act
Postmodernism and Cultural Theories
Late Marxism: Adorno, or, The Persistence of the Dialectic
Signatures of the Visible
Postmodernism, or, the Cultural Logic of Late Capitalism
The Geopolitical Aesthetic: Cinema and Space in the World System
The Seeds of Time. The Wellek Library lectures at the University of California, Irvine
Brecht and Method
The Cultural Turn: Selected Writings on the Postmodern, 1983–1998
The Jameson Reader
A Singular Modernity: Essay on the Ontology of the Present
Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions
The Modernist Papers
Jameson on Jameson: Conversations on Cultural Marxism
Valences of the Dialectic
The Hegel Variations: On the Phenomenology of Spirit
Representing 'Capital': A Commentary on Volume One
The Antinomies of Realism
The Ancients and the Postmoderns: On the Historicity of Forms
An American Utopia: Dual Power and the Universal Army
Raymond Chandler: The Detections of Totality
Allegory and Ideology
The Benjamin Files
Mimesis, Expression, Construction: Fredric Jameson's Seminar on Aesthetic Theory
Inventions of a Present: The Novel in its Crisis of Globalization
The Years of Theory: Postwar French Thought to the Present
The quotes
Often, these downplay the power of cultural imperialism - in that sense, playing the game of US interests - by reassuring us that the global success of American mass culture is not as bad as all that.
In most of the European countries - France stands out in its resistance to this particular form of American cultural imperialism - the national film industries were forced onto the defensive after the war by such binding agreements.
So is it always nationalist to resist US globalization? The US thinks it is, and wants you to agree; and, moreover, to consider US interests as being universal ones.
A further point is that, little by little, in the current universe, everything is slowly being named; nor does this have anything to do with the older Aristotelian universals in which the idea of a chair subsumes all its individual manifestations.
If it is, in reality, capitalism that is the motor force behind the destructive forms of globalization, then it must be in their capacity to neutralize or transform this particular mode of exploitation that one can best test these various forms of resistance to the West.
The standardization of world culture, with local popular or traditional forms driven out or dumbed down to make way for American television, American music, food, clothes and films, has been seen by many as the very heart of globalization.
And this fear that US models are replacing everything else now spills over from the sphere of culture into our two remaining categories: for this process is clearly, at one level, the result of economic domination - of local cultural industries closed down by American rivals.
For when we talk about the spreading power and influence of globalization, aren't we really referring to the spreading economic and military might of the US?
The United States has made a massive effort since the end of the Second World War to secure the dominance of its films in foreign markets - an achievement generally pushed home politically, by writing clauses into various treaties and aid packages.
The more worrying feature of the new global corporate structures is their capacity to devastate national labour markets by transferring their operations to cheaper locations overseas.