A novel is an act, an intervention, which, most often, the naïve reader takes as a representation. The novel intervenes to modify or correct our conventional notions of a situation, and, in the best and most intense cases, to propose a wholly new idea of what constitutes an event or of the very experience of living. The most interesting contemporary novels are those which try - and sometimes succeed - in awakening our sense of a collectivity behind individual experience; opening up a relationship between the isolated subjectivity and class or community. But even if this happens (rarely!), one must go on to find traces of collective praxis hidden away within the mere awakening of a feeling of multitude. And, since it is in the sense of the nation and nationality that collectivity is most often expressed, it is urgent to disengage the possibilities of genuine action within these nationalisms. This sweeping collection of essays ranges from the elusive politicality of North American literature to the sometimes frozen narrative experiences of the eastern countries and the old Soviet Union; from East Germany to Japan, Latin America and the Nordic countries. Like any such voyage, it is an arbitrary movement across the world of historical situations which, however, seeks to dramatize their common kinship in late capitalism itself.

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.  

Jameson's first full-length engagement with Walter Benjamin's work. The Benjamin Files offers a comprehensive new reading of all of Benjamin's major works and a great number of his shorter book reviews, notes and letters. Its premise is that Benjamin was an anti-philosophical, anti-systematic thinker whose conceptual interests also felt the gravitational pull of his vocation as a writer. What resulted was a coexistence or variety of language fields and thematic codes which overlapped and often seemed to contradict each other: a view which will allow us to clarify the much-debated tension in his works between the mystical or theological side of Benjamin and his political or historical inclination. The three-way tug of war over his heritage between adherents of his friends Scholem, Adorno and Brecht, can also be better grasped from this position, which gives the Brechtian standpoint more due than most influential academic studies. Benjamin's corpus is an anticipation of contemporary theory in the priority it gives language and representation over philosophical or conceptual unity; and its political motivations are clarified by attention to the omnipresence of History throughout his writing, from the shortest articles to the most ambitious projects. His explicit program-"to transfer the crisis into the heart of language" or, in other words, to detect class struggle at work in the most minute literary phenomena-requires the reader to translate the linguistic or representational literary issues that concerned him back into the omnipresent but often only implicitly political ones. But the latter are those of another era, to which we must gain access, to use one of Benjamin's favorite expressions.

'Every now and then a book appears which is literally ahead of its time ... The Political Unconscious is such a book ... it sets new standards of what a classic work is.' - Slavoj Zizek

In this ground-breaking and influential study, Fredric Jameson explores the complex place and function of literature within culture. A landmark publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century. First published: 1983.

In such celebrated works as Postmodernism: The Cultural Logic of Late Capitalism, Fredric Jameson has established himself as one of America's most observant cultural commentators. In Signatures of the Visible, Jameson turns his attention to cinema - the artform that has replaced the novel as the defining cultural form of our time. Historicizing a form that has flourished in a post-modern and anti-historical culture, he explores the allegorical and ideological dimensions of such films as The Shining, Dog Day Afternoon and the works of Alfred Hitchcock, among many others. Fifteen years on from its original publication, this remains a piercing and original analysis of film from a writer and thinker whose influence continues to be felt long after that of the fashionable post-modernists he has always critiqued.

In his most wide-ranging and accessible work, Frederic Jameson argues that postmodernism is the cultural response to the latest systemic change in world capitalism. He seeks here to crystallize a definition of a term which has taken on so many meanings that it has virtually lost all historical significance. He presents an extensive discussion on the cultural landscape-both 'high' and 'low'-of postmodernity, evaluating the political fortunes of the new term and surveying postmodern developments in a range of different fields-from market ideology to architecture, from painting and instalment art to contemporary punk film, from video art and high literature to deconstruction. Finally, Jameson revaluates the concept of postmodernism in light of postmodern critiques of totalization and historical narratives-from the notion of decadence to the dynamics of small groups, from religious fundamentalism to hi-tech science fiction-while touching on the nature of contemporary cultural critique and the possibilities of cognitive mapping in the present multinational world system. This provocative book will be fundamental to all future discussions of postmodernism.

No other country and no other period has produced a tradition of major aesthetic debate to compare with that which unfolded in German culture from the 1930s to the 1950s. In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.

The master of literary theory takes on the master of the detective novel Raymond Chandler, a dazzling stylist and portrayer of American life, holds a unique place in literary history, straddling both pulp fiction and modernism. With The Big Sleep, published in 1939, he left an indelible imprint on the detective novel. Fredric Jameson offers an interpretation of Chandler's work that reconstructs both the context in which it was written and the social world or totality it projects. Chandler's invariable setting, Los Angeles, appears both as a microcosm of the United States and a prefiguration of its future: a megalopolis uniquely distributed by an unpromising nature into a variety of distinct neighborhoods and private worlds. But this essentially urban and spatial work seems also to be drawn towards a vacuum, an absence that is nothing other than death. With Chandler, the thriller genre becomes metaphysical.

Antonio Gramsci's Prison Notebooks have offered concepts, categories, and political solutions that have been applied in a variety of social and political contexts, from postwar Italy to the insurgencies of the Arab Spring. The contributors to Gramsci in the World examine the diverse receptions and uses of Gramscian thought, highlighting its possibilities and limits for understanding and changing the world. Among other topics, they explore Gramsci's importance to Caribbean anticolonial thinkers like Stuart Hall, his presence in decolonial indigenous movements in the Andes, and his relevance to understanding the Chinese Left. The contributors consider why Gramsci has had relatively little impact in the United States while also showing how he was a major force in pushing Marxism beyond Europe-especially into the Arab world and other regions of the Global South. Rather than taking one interpretive position on Gramsci, the contributors demonstrate the ongoing relevance of his ideas to revolutionary theory and praxis. Contributors. Alberto Burgio, Cesare Casarino, Maria Elisa Cevasco, Kate Crehan, Roberto M. Dainotto, Michael Denning, Harry Harootunian, Fredric Jameson, R. A. Judy, Patrizia Manduchi, Andrea Scapolo, Peter D. Thomas, Catherine Walsh, Pu Wang, Cosimo Zene

In this ground-breaking and influential study Fredric Jameson explores the complex place and function of literature within culture. 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. With this book he carried it off beautifully. A landmark publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century.century.

For a long time, the term 'ideology' was in disrepute, having become associated with such unfashionable notions as fundamental truth and the eternal verities. The tide has turned, and recent years have seen a revival of interest in the questions that ideology poses to social and cultural theory, and to political practice. Mapping Ideology is a comprehensive reader covering the most important contemporary writing on the subject. Including Slavoj Zizek's study of the development of the concept from Marx to the present, assessments of the contributions of Lukacs and the Frankfurt School by Terry Eagleton, Peter Dews and Seyla Benhabib, and essays by Adorno, Lacan and Althusser, Mapping Ideology is an invaluable guide to the most dynamic field in cultural theory.

In such celebrated works as Postmodernism: The Cultural Logic of Late Capitalism, Fredric Jameson has established himself as one of America's most observant cultural commentators. In Signatures of the Visible, Jameson turns his attention to cinema - the artform that has replaced the novel as the defining cultural form of our time. Historicizing a form that has flourished in a post-modern and anti-historical culture, he explores the allegorical and ideological dimensions of such films as The Shining, Dog Day Afternoon and the works of Alfred Hitchcock, among many others.

Fifteen years on from its original publication, this remains a piercing and original analysis of film from a writer and thinker whose influence continues to be felt long after that of the fashionable post-modernists he has always critiqued.

The three essays in this volume were originally published as individual pamphlets by the Field Day Theatre Company in Derry, Nothern Ireland. Founded in 1980 as a theatre cmpany, Field Day has eveolved as a publisher concerned with the typically Irish blend of political and cultural (mainly literary) forces which requires fresh analysis in view of the existing Irish political crisis. As a result, Field Day has published a series of pamphlets, in groups of three, to which the three essays printed here are the most recent contribution. Each of the essays deals with a different aspect of nationalism and the role of cultural production as a force in understanding the aftermath of colonization. In his essay, Terry Eagleton identifies two decolonizing stages: the achievement of national autonomy and personal autonomy. Frederic Jameson discusses the problematic relationship between the Third World and the "first world". Edward Said focuses on the poetry of Yeats and the role it played in the "liberationist" movement of decolonization.

Antonio Gramsci's Prison Notebooks have offered concepts, categories, and political solutions that have been applied in a variety of social and political contexts, from postwar Italy to the insurgencies of the Arab Spring. The contributors to Gramsci in the World examine the diverse receptions and uses of Gramscian thought, highlighting its possibilities and limits for understanding and changing the world. Among other topics, they explore Gramsci's importance to Caribbean anticolonial thinkers like Stuart Hall, his presence in decolonial indigenous movements in the Andes, and his relevance to understanding the Chinese Left. The contributors consider why Gramsci has had relatively little impact in the United States while also showing how he was a major force in pushing Marxism beyond Europe-especially into the Arab world and other regions of the Global South. Rather than taking one interpretive position on Gramsci, the contributors demonstrate the ongoing relevance of his ideas to revolutionary theory and praxis. Contributors. Alberto Burgio, Cesare Casarino, Maria Elisa Cevasco, Kate Crehan, Roberto M. Dainotto, Michael Denning, Harry Harootunian, Fredric Jameson, R. A. Judy, Patrizia Manduchi, Andrea Scapolo, Peter D. Thomas, Catherine Walsh, Pu Wang, Cosimo Zene

The Benjamin Files offers a comprehensive new reading of all of Benjamin's major works and a great number of his shorter book reviews, notes and letters. Its premise is that Benjamin was an anti-philosophical, anti-systematic thinker whose conceptual interests also felt the gravitational pull of his vocation as a writer. What resulted was a coexistence or variety of language fields and thematic codes which overlapped and often seemed to contradict each other: a view which will allow us to clarify the much-debated tension in his works between the mystical or theological side of Benjamin and his political or historical inclination. The three-way tug of war over his heritage between adherents of his friends Scholem, Adorno and Brecht, can also be better grasped from this position, which gives the Brechtian standpoint more due than most influential academic studies. Benjamin's corpus is an anticipation of contemporary theory in the priority it gives language and representation over philosophical or conceptual unity; and its political motivations are clarified by attention to the omnipresence of History throughout his writing, from the shortest articles to the most ambitious projects. His explicit program - "to transfer the crisis into the heart of language" or, in other words, to detect class struggle at work in the most minute literary phenomena - requires the reader to translate the linguistic or representational literary issues that concerned him back into the omnipresent but often only implicitly political ones. But the latter are those of another era, to which we must gain access, to use one of Benjamin's favorite expressions.

The Antinomies of Realism is a history of the nineteenth-century realist novel and its legacy told without a glimmer of nostalgia for artistic achievements that the movement of history makes it impossible to recreate. Fredric Jameson examines the most influential theories of artistic and literary realism, approaching the subject himself in terms of the social and historical preconditions for realism's emergence. The realist novel combined an attention to the body and its states of feeling with a focus on the quest for individual realization within the confines of history.

Makers of Worlds, Readers of Signs charts the aesthetic and political formation of neoliberalism and globalization in Israeli and Palestinian literature from the 1940s to the present. By tracking literature's move from making worlds to reading signs, Cohen Lustig proposes a new way to read theorize our global contemporary. Cohen Lustig argues that the period of Israeli statism and its counterpart of Palestinian statelessness produced works that sought to make and create whole worlds and social time - create the new state of Israel, preserve collective visions of Palestinian statehood. During the period of neoliberalism, the period after 1985 in Israel and the 1993 Oslo Accords in Palestine, literature became about the reading of signs, where politics and history are now rearticulated through the private lives of individual subjects. Here characters do not make social time but live within it and inquire after its missing origin. Cohen Lustig argues for new ways to track the subjectivities and aesthetics produced by larger shifts in production. In so doing, he proposes a new model to understand the historical development of Israeli and Palestinian literature as well as world literature in our contemporary moment. With a preface from Fredric Jameson.

The novels of Wyndham Lewis have generally been associated with the work of the great modernists-Joyce, Pound, Eliot, Yeats-who were his sometime friends and collaborators. Lewis's originality, however, can only be fully grasped when it is understood that, unlike those writers, he was essentially a political novelist. In this now classic study, Fredric Jameson proposes a framework in which Lewis's explosive language practice-utterly unlike any other English or American modernism-can be grasped as a political and symbolic act. He does not, however, ask us to admire the energy of Lewis's style without confronting the inescapable and often scandalous ideological content of Lewis's works: the aggressivity and sexism, the predilection for racial and national categories, the brief flirtation with fascism, and the inveterate and cranky oppositionalism that informs his powerful polemics against virtually all the political and countercultural tendencies of his time. Fables of Aggression draws on the methods of narrative analysis and semiotics, psychoanalysis, and ideological analysis to construct a dynamic model of the contradictions from which Lewis's incomparable narrative corpus is generated, and of which it offers so many varying symbolic resolutions.

For more than thirty years, Fredric Jameson has been one of the most productive, wide-ranging, and distinctive literary theorists in the United States and the Anglophone world. Marxism and Form provided a pioneering account of the work of the major European Marxist theorists--T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Lukacs, and Jean-Paul Sartre--work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous in.uence. He provided a framework for analyzing the connection between art and the historical circumstances of its making--in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form.

Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism.

One year after Marxism and Form, Princeton published Jameson's "The Prison-House of Language" (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation."

In this ambitious and original study, Stathis Kouvelakis paints a rich panorama of the key intellectual and political figures in the effervescence of German thought before the 1848 revolutions. He shows how the attempt to chart a moderate, reformist path entered into crisis, generating two antagonistic perspectives within the progressive currents of German society. On one side were those socialists - such as Moses Hess and the young Friedrich Engels - who sought to discover a principle of harmony in social relations. On the other side, the poet Heinrich Heine and the young Karl Marx developed a new perspective, articulating revolutionary rupture, thereby redefining the very notion of politics itself. This new edition of the book includes a long interview with Kouvelakis which puts the work in context.

The Modernist Papers is a tour de force of analysis and criticism, in which Jameson brings his dynamic and acute thought to bear on the modernist literature of the nineteenth and twentieth centuries. Jameson discusses modernist poetics, including the work of Baudelaire, Rimbaud, Mallarme, Wallace Stevens, Joyce, Proust and Thomas Mann. He explores the peculiarities of the American literary field, taking in William Carlos Williams and the American epic, and examines the language theories of Gertrude Stein. Refusing to see modernism as simply a Western phenomenon, he also pays close attention to its Japanese expression, while the complexities of a late modernist representation of twentieth-century politics are articulated in a concluding section on Peter Weiss's novel The Aesthetics of Resistance. Challenging our previous understandings of the literature of this period, this monumental work will come to be regarded as the classic study of modernism.

Wars have played a momentous role in shaping the course of human history. The ever-present specter of conflict has made it an enduring topic of interest in popular culture, and many movies, from Hollywood blockbusters to independent films, have sought to show the complexities and horrors of war on-screen.

In The Philosophy of War Films, David LaRocca compiles a series of essays by prominent scholars that examine the impact of representing war in film and the influence that cinematic images of battle have on human consciousness, belief, and action. The contributors explore a variety of topics, including the aesthetics of war as portrayed on-screen, the effect war has on personal identity, and the ethical problems presented by war.

Drawing upon analyses of iconic and critically acclaimed war films such as Saving Private Ryan (1998), The Thin Red Line (1998), Rescue Dawn (2006), Restrepo (2010), and Zero Dark Thirty (2012), this volume's examination of the genre creates new ways of thinking about the philosophy of war. A fascinating look at the manner in which combat and its aftermath are depicted cinematically, The Philosophy of War Films is a timely and engaging read for any philosopher, filmmaker, reader, or viewer who desires a deeper understanding of war and its representation in popular culture.

The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this intervention, Fredric Jameson--perhaps the most influential and persuasive theorist of postmodernity--excavates and explores these notions in a fresh and illuminating manner.
The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive 'modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well.
In this major interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms--which can probably not be banished at this late date--helps us clarify our present political and artistic situations.

The legacy of Bertolt Brecht is much contested, whether by those who wish to forget or to vilify his politics, but his stature as the outstanding political playwright and poet of the twentieth century is unforgettably established in this major critical work. Fredric Jameson elegantly dissects the intricate connections between Brecht's drama and politics, demonstrating the way these combined to shape a unique and powerful influence on a profoundly troubled epoch. Jameson sees Brecht's method as a multi-layered process of reflection and self-reflection, reference and self-reference, which tears open a gap for individuals to situate themselves historically, to think about themselves in the third person, and to use that self-projection in history as a basis for judgment. Emphasizing the themes of separation, distance, multiplicity, choice and contradiction in Brecht's entire corpus, Jameson's study engages in a dialogue with a cryptic work, unpublished in Brecht's lifetime, entitled Me-ti; Book of Twists and Turns. Jameson sees this text as key to understanding Brecht's critical reflections on dialectics and his orientally informed fascination with flow and flux, change and the non-eternal. For Jameson, Brecht is not prescriptive but performative. His plays do not provide answers but attempt to show people how to perform the act of thinking, how to begin to search for answers themselves. Brecht represents the ceaselessness of transformation while at the same time alienating it, interrupting it, making it comprehensible by making it strange. And thereby, in breaking it up by analysis, the possibility emerges of its reconstitution under a new law.