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Relevant bibliographies by topics / Jameson, Fredric Criticism and interpretation

Academic literature on the topic 'Jameson, Fredric Criticism and interpretation'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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Journal articles on the topic "Jameson, Fredric Criticism and interpretation"

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Galloway, Alexander R. "Meditations on Last Philosophy." South Atlantic Quarterly 119, no. 4 (October 1, 2020): 799–809. http://dx.doi.org/10.1215/00382876-8663711.

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In his 1981 book, The Political Unconscious: Narrative as a Socially Symbolic Act, Fredric Jameson elaborated an influential position on ideology and critique. Jameson stressed the priority of political interpretation, arguing that “the political interpretation of literary texts … [is] the absolute horizon of all reading and all interpretation.” After nearly forty years, we return to this text, situating it within Jameson’s long career, in order to explore form, figuration, and utopia. Does Jameson provide a series of meditations on last philosophy?

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Fortini, Franco, and Toscano Alberto. "Introduction to the Italian translation of Fredric Jameson’s Marxism and Form." Historical Materialism 29, no. 1 (January 20, 2021): 235–46. http://dx.doi.org/10.1163/1569206x-29010000.

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Abstract This text is essayist, critic and poet Franco Fortini’s introduction to the Italian translation of Fredric Jameson’s Marxism and Form. Fortini frames his assessment of Jameson in terms of a contrast with the Italian reception of the dialectical criticism assayed in Marxism and Form.

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Goudarzi, Abdolreza. "Jamesonian Interpretation of Post Postmodernism: David Foster Wallace’s Infinite Jest and The Pale King." International Journal of Contemporary Research and Review 9, no. 02 (February 27, 2018): 20310–17. http://dx.doi.org/10.15520/ijcrr/2018/9/02/446.

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Postmodernism and Post Postmodernism have dominated culture and literature since the late-20th-century and in basic features, they contradict each other. In Postmodernism, or the period known as the late capitalism by Fredric Jameson, some sort of fragmentation rather than totality is intended to control again the life of the people through the same media in a process known as consumerism; However, in Post Postmodernism, a new sort of humanism seems to be emerging by David Foster Wallace who shows not only the pain but also the cure. In fact, the subjectivity of man is given a niche, and also he is given a voice to express his thought, like the opportunity he has gained in the social networks like Facebook and Telegram, having made it paradoxically possible for him to have a sort of sharing among the fragmented individuals. In fact, every fragmented man can be an active agent, communicator, and finally a producer to bring meaning and discipline back to the life rather than a sole passive watcher, reader, and one way communicator controlled by the system as presented in the modern and postmodern works. Focusing on David Foster Wallace’s (1962-2008) novels—Infinite Jest (1996) and The Pale King (2011), the aim of this article is to study these three novels through the critical gates of the philosopher, Fredric Jameson to open up the concepts of Post Postmodernism.

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La Berge, Leigh Claire. "The Future Perfect, Otherwise: Narrative, Abstraction and History in the Work of Fredric Jameson." Historical Materialism 29, no. 1 (February 26, 2021): 211–20. http://dx.doi.org/10.1163/1569206x-12342003.

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Abstract There has long been a tension in Fredric Jameson’s work regarding the extent to which it is possible or warranted to develop transhistorical categories for literary interpretation across of the whole of the capitalist mode of production. In my contribution to this symposium, I take up the problem of how Jameson’s Allegory and Ideology participates in such questions in its consideration of periodisation and narrativisation through the particular construction of allegory, from the early modern age to our financial present.

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Stephen D. Carter. "The Dialectic of War and Utopia: Systemic Closure and Embattled Social Life in the Work of Fredric Jameson." Criticism 58, no. 2 (2016): 177. http://dx.doi.org/10.13110/criticism.58.2.0177.

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Boer, Roland. "Twenty-five Years of Marxist Biblical Criticism." Currents in Biblical Research 5, no. 3 (June 2007): 298–321. http://dx.doi.org/10.1177/1476993x07077963.

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In the context of a renewed interest in Marxism outside biblical studies, this article surveys and critiques the background and current status of a similar renewal in biblical studies. It begins with a consideration of the background of current studies in liberation, materialist and political theologies, and moves on to note the division between literary and social scientific uses of Marxist theories. While those who used Marxist literary methods were initially inspired by Terry Eagleton and Fredric Jameson, more recent work has begun to make use of a whole tradition of Marxist literary criticism largely ignored in biblical studies. More consistent work, however, has taken place in the social sciences in both Hebrew Bible and New Testament studies. In Hebrew Bible studies, debates focus on the question of mode of production, especially the domestic or household mode of production, while in New Testament studies, the concerns have been with reconstructing the context of the Jesus movement and, more recently, the Pauline correspondence. I close with a number of questions concerning the division into different areas of what is really a holistic approach to texts and history.

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Tratnik, Polona. "Art Addressing Consumerism in the Age of Late Capitalism." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 39–51. http://dx.doi.org/10.52685/cjp.21.1.3.

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The globalized world is still in the phase of late capitalism, signified by the establishment of multinational corporations, globalized markets and work, mass consumerism, and the fluid flow of capital. The question of the criticism of art towards the capitalist system, its ideology and consumerism is therefore still current and is readdressed in this contribution. Considering this issue, the recurrent theoretical reference is American materialist aesthetician Fredric Jameson, who was among the first to define culture and art in the context of late capitalism. In the article the author revises Jameson’s critique of art addressing consumerism and demonstrates that he did not consider the relevance of the means of consumption as regards the cultural logic of late capitalism. She claims that in order to open space to examine contemporary art as being critical towards consumerism, one also needs to consider the ontological changes that have occurred to art and pay attention to performative art, while Jameson was still focused on a representational mode of art. By being performative and also setting out actions outside of spaces that were traditionally designed for art, in the space meant for consumption, art has much a better chance to act politically, which Jameson wished to see from art which addresses consumerism but did not. The author argues that if one is to seek critical or political art in late capitalism, those would be the cases of artistic interventions into the means of consumption.

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Tally, Robert T. "Boundless Mystification." South Atlantic Quarterly 119, no. 4 (October 1, 2020): 779–88. http://dx.doi.org/10.1215/00382876-8663687.

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In Marxist literary criticism—for example, as represented by Fredric Jame-son’s influential study, The Political Unconscious—the interpretation of texts has frequently involved ideology critique, by which the critic attempts to disclose both the ideological content or structural limitations of a given text while also being attuned to the text’s utopian or revolutionary potential. In recent decades, Marxist criticism in particular and what is taken to be the hermeneutics of suspicion more generally have come under attack by literary scholars who favor various forms of postcritique, including surface reading and thin description. This essay suggests that postcritique, and all that it involves, contributes to the radical dismantling of higher education caused by rampant neoliberalism. The vocation of ideology critique and of Marxist criticism is, this essay contends, the most appropriate response to a society so utterly mystified as our own.

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Yulianto, Wawan Eko. "BETWEEN THE SA’ALIK AND THE EARLY MUSLIMS: A JAMESONIAN READING ON LAMIYYAT AL-ARAB." PARADIGM 3, no. 1 (May 17, 2020): 25. http://dx.doi.org/10.18860/prdg.v3i1.8952.

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<p align="justify">This article aims to propose a possible answer to the curious case of the popularity of <em>Lamiyyat al-Arab </em>as a means of education among Muslim leaders during the Umayyad era. The curiosity lies in the fact that <em>Lamiyyat al-Arab </em>is attributed to al-Shanfara, who was reportedly a <em>su’luk</em>, an outcast in the society who was also known as a brigand poet. To answer the curiosity, I conducted a literature review on who the <em>sa’alik</em> are and how they share some vision with early Muslims. This exploration makes up the first part of the essay. The second half of the essay is a textual interpretation on <em>Lamiyyat al-Arab</em> guided by the three horizons of interpretation as proposed by Fredric Jameson. Looking at three different horizons of meaning, textual, social, and historical, I strongly hope that the interpretation offer a glimpse into the desire for change that the poem shares with the early Muslims. This constitutes as a possible answer to the curious popularity of the pre-Islamic poem among early Muslims. </p>

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Rodríguez, Juan Carlos. "Althusser: Blowup (Lineaments of a Different Thought)." PMLA/Publications of the Modern Language Association of America 123, no. 3 (May 2008): 762–79. http://dx.doi.org/10.1632/pmla.2008.123.3.762.

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Nothing is more remarkable in the tradition of Althusserian Marxism than the silence that has dogged the work of Juan Carlos Rodríguez. One thinks of the relative importance attached to the work of Terry Eagleton and Fredric Jameson. Some might believe the discrepancy is a matter of merit rather than of willful or unconscious neglect. But even the most casual comparison of Rodríguez's Theory and History of Ideological Production with Eagleton's Criticism and Ideology (1975) and with Jameson's The Political Unconscious (1981) suggests that this can hardly be the case. The parallel with Jameson is particularly intriguing. Like Rodríguez, the North American scholar accepts Louis Althusser's view of the social totality as a “decentered structure” in which various levels develop in “relative autonomy” and in which different feudal and capitalist matrices coexist. Also like Rodríguez, he considers literary works to be a form of ideological discourse that represses historical truth. Why, then, the silence that surrounds Rodríguez? The answer lies in the extent to which Jameson's work recontains diverse critical positions in the larger horizon of Marxism. Such a practice, as Eagleton has argued, is congenial to a dominant American pragmatism and eclecticism, as are the presiding Marxist Hegelian categories of reification and commodification (60–62). The consequences, politically, are found in Jameson's amorphous brand of “alliance” politics. The material situation of Rodríguez was very different. Given the militancy of the working class in Spain, his presiding categories were those of exploitation and class conflict, which combine to form the basis of a revolutionary proletarian politics that is anything but acceptable to the North American academy.

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Dissertations / Theses on the topic "Jameson, Fredric Criticism and interpretation"

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Coté, Mark E. "The dialectical criticism of Fredric Jameson, or, The dual hermeneutic of anxiety and hope." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0026/MQ51321.pdf.

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Roy, Wendy J. "Maps of gender and imperialism in travel writing by Anna Jameson, Mina Hubbard, and Margaret Laurence." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38516.

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This dissertation is an analysis of writings and illustrative material by Canadian travel writers Anna Jameson, Mina Hubbard, and Margaret Laurence, that attempts to reconcile the masculinist focus of postcolonial criticism and the charges of cultural imperialism levied against feminist criticism with the role postcolonial and feminist theories play in understanding women's travel narratives. I argue that Jameson's 1838 Winter Studies and Summer Rambles in Canada, Hubbard's 1908 A Woman's Way through Unknown Labrador, and Laurence's 1963 The Prophet's Camel Bell provide maps of the political, cultural, and physical features of the areas through which the women travelled, and of their own social and cultural positions. Their mapping is also done through more graphic media---including Hubbard's cartographic work, Hubbard's and Laurence's photographs, and Jameson's unpublished sketches---which reflect and complicate the written negotiations of gender and imperialism in which the three women engage.
Because my aim is to reconcile theoretical contradictions, I examine in detail books that clearly dramatize colonialist or anti-imperialist approaches and considerations or exemplifications of issues of gender. Not surprisingly, the three writers draw very different maps of those subjects, as a function of their disparate geographical and historical contexts. This study reveals, however, that the maps themselves are drawn with similar tools, which include an anti-racist philosophy and an acute awareness of women's position in their own and the visited societies. Thus Jameson makes philosophical connections between mid-nineteenth-century feminist and anti-racist theoretical approaches; Hubbard provides insights into an early twentieth-century woman traveller's relationship to First Nations men who have both more and less power than she; and Laurence serves as a witness to and astute reporter on oppression of mid-twentieth century women by specific colonial and patriarchal forces.

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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.

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Hestetun, Øyunn. "A prison-house of myth? symptomal readings in Virgin land, The madwoman in the Attic, and The political unconscious /." Stockholm : Almqvist & Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb35577879j.

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Palko, Amy Joyce. "Charting habitus : Stephen King, the author protagonist and the field of literary production." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/1263.

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While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.

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Books on the topic "Jameson, Fredric Criticism and interpretation"

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Fredric Jameson. London: Routledge, 2000.

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1943-, Kellner Douglas, and Homer Sean, eds. Fredric Jameson: A critical reader. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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Fredric Jameson: Live theory. London: Continuum, 2006.

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Fredric Jameson: A bibliography. Santa Cruz, CA: Reference and Research Services, 2001.

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Homer, Sean. Fredric Jameson: Marxism, hermeneutics, postmodernism. Cambridge: Polity Press, 1998.

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Fredric Jameson: Marxism, hermeneutics, postmodernism. New York: Routledge, 1998.

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The Marxian hermeneutics of Fredric Jameson. New York: Lang, 1995.

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Fredric Jameson: Neomarxismo, dialettica e teoria della letteratura. Soveria Mannelli: Rubbettino, 2008.

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Boer, Roland. Jameson and Jeroboam. Atlanta, Ga: Scholars Press, 1996.

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The success and failure of Fredric Jameson: Writing, the sublime, and the dialectic of critique. Albany: State University of New York Press, 2001.

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Book chapters on the topic "Jameson, Fredric Criticism and interpretation"

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Newton, K. M. "Fredric Jameson: ‘On Interpretation: Literature as A Socially Symbolic Act’." In Twentieth-Century Literary Theory, 181–86. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25934-2_37.

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McGregor, Rafe. "Criminological Criticism." In Critical Criminology and Literary Criticism, 8–23. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529219678.003.0002.

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This chapter proposes a method of interpretation and appreciation which can be called criminological criticism. It begins by defining a complex narrative as the product of an agent that is high in narrativity in virtue of representing one or more agents and two or more events which are causally connected, thematically unified, and conclude. The chapter then presents Fredric Jameson's model of fourfold allegory in which the literal, symbolic, existential, and anthropic meanings interact such that the meaning of the work is more than the sum of the meanings of its representational levels. Fourfold allegories are also complex narratives and the levels of allegorical meaning correspond with the four philosophical values associated with narrativity: aesthetic, cognitive, ethical, and political. In consequence, the practices of interpretation and appreciation are mutually complementary.

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"Fredric Jameson." In Modern Criticism and Theory, 559–72. Routledge, 2014. http://dx.doi.org/10.4324/9781315835488-41.

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"Chapter Two. The Stumbling Block Of Fredric Jameson." In Criticism of Religion, 31–58. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004176461.i-284.11.

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Buchanan, Ian. "Schizoanalysis and Literary Criticism." In The Incomplete Project of Schizoanalysis, 246–58. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474487887.003.0018.

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This chapter notes that Fredric Jameson claimed that his seminal work The Political Unconscious was inspired (in part) by Deleuze and Guattari’s notion of immanence. Jameson also wanted to identify the symptoms of history as they are expressed in literature. It then proposes that we can use Jameson’s method of reading critical texts as a means of understanding Deleuze’s literary criticism. By singling out Deleuze’s ‘method of dramatisation’ articulated in his work on Nietzsche, this chapter makes the case that it is possible to articulate a Deleuzian method of literary criticism. It uses Deleuze’s account of the work of Emile Zola in the appendices to The Logic of Sense as its test case.

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Lesjak, Carolyn. "9. Fredric Jameson and Marxist Literary and Cultural Criticism." In Modern North American Criticism and Theory, 55–62. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-010.

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Lesjak, Carolyn. "Fredric Jameson (1934-) and Marxist Literary and Cultural Criticism." In Introducing Literary Theories, 487–94. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-064.

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"Fredric Jameson Magical Narratives: On the Dialectical Use of Genre Criticism." In Modern Genre Theory, 183–208. Routledge, 2014. http://dx.doi.org/10.4324/9781315839257-18.

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Maxwell, Jason. "Between Standardization and Serialization: Kenneth Burke, Fredric Jameson, and Radical Criticism in the Post-Fordist Era." In The Two Cultures of English, 60–91. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282463.003.0003.

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This chapter considers the odd status of literary and rhetorical critic Kenneth Burke within English Studies. It does so by examining a debate between Burke and Fredric Jameson that occurred in the late 1970s in the journal Critical Inquiry; careful attention to the nuances of their exchange reveals why Burke has come to occupy such a central role within the discourse of rhetorical theory but has been largely overlooked within literary and critical theory. Although Burke and Jameson share many similarities concerning methodology and a host of related issues, they ultimately split on the structural characteristics of late capitalism. Whereas Burke asserts that capitalism operates by producing conformity and standardization, Jameson argues that capitalism must be understood as a much more dynamic system. Their differences on this matter illuminate a number of underlying tensions within theoretical work produced in the humanities today.

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"Chapter 2. Between Standardization and Serialization: Kenneth Burke, Fredric Jameson, and Radical Criticism in the Post-Fordist Era." In The Two Cultures of English, 60–91. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823282487-003.

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