Fredric Jameson 1934-
American critic and editor.
The following entry presents an overview of Jameson's career through 1999.
Jameson is widely recognized as being among the most influential Marxist literary theorists in America. As such, he is credited with having introduced much European thinking to American academia. A proponent of dialectical criticism, Jameson continually impresses his peers with the breadth and variety of his fields of reference. Jameson analyzes literature, seemingly not for its own sake, but to uncover its social and political underpinnings. As an interpreter of both modern and postmodern culture, he applies a rethinking of Marxism to his work. Jameson's unique brand of Marxist literary theory, however, is firmly grounded in a belief in the importance of history.
Jameson was born in Cleveland, Ohio, on April 14, 1934. He attended Haverford College, where he earned his B.A. in 1954, and then Yale, where he received his M.A. in 1956 and Ph.D. in 1960. In 1959 Jameson began working as an instructor at Harvard, where he was later promoted to assistant professor. From 1967-76 he taught at the University of California at San Diego, first as an associate professor and, later, as professor of French and comparative literature. Jameson then returned to Yale, where he served as a professor in the university's French department. In 1983 he accepted a position as professor of literature and history of consciousness at the University of California at Santa Cruz. In 1986 he again left California, this time to be appointed William A. Lane, Jr. Professor of Comparative Literature and Director of the Graduate Program in Literature and Theory at Duke University. Jameson currently holds the position of Distinguished Professor of Comparative Literature at Duke and continues to direct the literature graduate program, in addition to the university's Center for Cultural Theory. Jameson's honors have included a Rotary fellowship for study at the University of Aix-Marseille, a Woodrow Wilson fellowship, a Fullbright fellowship to study in Munich and Berlin, a Humanities Institute grant, two Guggenheim fellowships, the William Riley Parker prize from the Modern Language Association (for his 1971 PMLA article “Metacommentary”), and recognition of his work by the American Academy of Arts and Sciences. Jameson is co-founder of the Marxist Literary Group and he has served as co-editor of Social Text, contributing editor to the Minnesota Review, and editorial board member of the South Atlantic Quarterly.
Jameson has distinguished himself as a dialectical thinker, and at the heart of Jameson's thinking lies his loyalty to Marxism. (“Dialectic,” broadly speaking, refers to the examination of conflicting arguments or forces and the resulting transformation or resolution of those contradictions. Dialectic forms an essential part of the works of the philosophers Georg Wilhelm Friedrich Hegel and Karl Marx.) Jameson's Marxism, however, is not the kind that the majority of the public is accustomed to, namely Soviet Marxism, but rather Western Marxism, or Hegelian Marxism, in which the role of history is emphasized. Dialectic is reflected in Jameson's writing style, which can be, depending on his goals, either direct or intricate. In his first book, Sartre (1961), which began as his doctoral dissertation, Jameson examines the effect of writing style and attempts to locate Jean-Paul Sartre within the context of literary history. While Marxist analysis is relatively absent from his first book, it would form a great portion of his next work, Marxism and Form (1972). This book, notably, says little about form, and instead considers literature as a reflection of social and political thought. Jameson argues that literature should be seen not in a narrow literary sense, but rather as symbolic of social and political institutions; form, in turn, should be viewed as having historical and dialectical relevance. Through a Marxist analysis of Sartre's Critique of Dialectical Reason, Jameson again makes the French philosopher the foundation for his book. Marxism and Form goes on to discuss (and in some cases introduce to North American readers) such dialectical theoreticians as Theodor Adorno, Walter Benjamin, Ernst Bloch, and Georg Lukács; with these other writers, Jameson shares an enthusiasm for restoring the religious, or utopian, side to Marxism. In the final part of the book Jameson argues that dialectical criticism must constantly reflect on itself, embodied in his concept of “metacommentary.” In his next work, The Prison-House of Language (1972), Jameson examines the methodologies of Russian formalism and French structuralism, including the works of Claude Lévi-Strauss, Louis Althusser, and Jacques Derrida, in an effort to synthesize such theory for an Anglo-American audience. The Political Unconscious (1981) takes modernism as its subject and modernism's attendant greatnesses: “great realisms,” “great theorists,” and “great souls,” as Jameson puts it. Here, the author provides a dialectical criticism involving both broad theory and minute observation to examine the apparent contradiction between the greatness exhibited by modernism and the leveling force of modernist technology. Jameson here looks upon religion as a positive force, one capable of pointing to a Utopian future.
More recently, Jameson has tackled modernism's offspring, postmodernism. In Postmodernism, or, The Cultural Logic of Late Capitalism (1991), he argues that capitalism has entered a multinational stage (multinationalism having succeeded industrialism and imperialism, the first and second stages, respectively, of capitalism). Multinational capitalism, Jameson maintains, has homogenized the world to an extent far greater than its predecessors. The cultural space of multinationalism, in turn, is postmodernism. Among the characteristics of postmodern culture, Jameson asserts, is an aesthetic preference for pastiche and a tendency toward the superficial rather than the profound. In this work, Jameson (in a manner that is very much postmodern) offers examples for his argument from a diverse selection of cultural sources: architecture, visual art, fiction, and film. In opposition to critics who find postmodernism to be a merely passive acceptance of current social structures, Jameson uses examples from these various art forms to demonstrate that postmodernism, through its signaling of the end of the individualistic bourgeois ego, actually furthers the Marxist struggle for freedom. In addition to several studies focusing on individual writers—Wyndham Lewis in Fables of Aggression (1979), Adorno in Late Marxism (1990), and Bertolt Brecht in Brecht and Method (1998)—Jameson has published collections of essays, including The Ideologies of Theory (1988), Signatures of the Visible (1990), and The Seeds of Time (1994). He has also served as editor and contributor for several volumes of criticism, including Nationalism, Colonialism, and Literature (1990), The Cultures of Globalization (1998), and The Cultural Turn (1998).
Jameson's position as the preeminent Marxist literary theorist in North America was signaled by the enthusiastic reaction of critics to his first major work, Marxism and Form. Praised for its commanding presentation of the twentieth-century Marxist tradition, as well as its insightful attention to Lukács, the Frankfurt School of Marxists, and Sartre, the book is considered one of the more distinguished and important works of literary theory from the 1970s. The book's concluding essay, “Towards a Dialectical Criticism,” in which the author promotes dialectical thinking and metacommentary, has been noted for its deftness and subtlety. Jameson, however, was faulted for not keeping himself at an appropriate distance from his subject matter. (Such criticism would be leveled against future work by the author.) Jameson's major work, The Political Unconscious solidified his top rank within the realm of Marxist literary criticism. Lauded for displaying an outstanding combination of substantial argument with a sense of urgency, the book was received as an ambitious reconsideration of Marxism in view of such competing contemporary theories as psychoanalysis and poststructuralism. The book demonstrates traits that have become characteristic of Jameson, namely the sophistication of his intelligence and the extensive range of his examples. Clearly conscious of the need to establish a vital connection between his preferred theory of Marxism and postmodernism, Jameson wrote Postmodernism, or, The Cultural Logic of Late Capitalism. While the work has been called one of the more elucidating books on the subject, Postmodernism was also found to exhibit some serious flaws. Jameson was criticized for his unquestioning faith in the relevance of Marxism, in particular the extent to which he attributes significance to economics at the expense of the roles of such social factors as race and gender. Perhaps the most relevant criticism delivered against the book was its failure to precisely explain how “late capitalism,” or multinationalism, could generate a cultural space such as postmodernism. The book's apparent failure to mesh Marxism with postmodernism, however, did not appreciably weaken the author's reputation as one of the leading Marxist literary theorists of his generation.
Sartre: The Origins of a Style (criticism) 1961
Marxism and Form: Twentieth-Century Dialectical Theories of Literature (criticism) 1972
The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism (criticism) 1972
Fables of Aggression: Wyndham Lewis, The Modernist as Fascist (criticism) 1979
The Political Unconscious: Narrative as a Socially Symbolic Act (criticism) 1981
The Ideologies of Theory: Essays 1971-1986. 2 vols. (criticism) 1988
Postmodernism and Cultural Theories (criticism) 1989
Late Marxism: Adorno, or, The Persistence of the Dialectic (criticism) 1990
Nationalism, Colonialism, and Literature [editor; with Terry Eagleton and Edward W. Said] (criticism) 1990
Signatures of the Visible (criticism) 1990
Postmodernism, or, The Cultural Logic of Late Capitalism (criticism) 1991
The Geopolitical Aesthetic: Cinema and Space in the World System (criticism) 1992
The Seeds of Time (criticism) 1994
Brecht and Method (criticism) 1998
The Cultural Turn: Selected Writings on the Postmodern, 1983-1998 (criticism) 1998
The Cultures of Globalization [editor; with Masao Miyoshi] (criticism) 1998
The Jameson Reader [edited by Michael Hardt and Kathi Weeks] (criticism) 2000
SOURCE: “Phonetic Shadows,” in New Statesman, November 16, 1973, pp. 739-40.
[In the following review of The Prison-House of Language, Donoghue commends Jameson's contribution to Marxist criticism, though expresses some reservations about his view of historical truth and determinism.]
I wish I could claim to have discovered Frederic Jameson, but his name meant nothing to me until a couple of years ago when I read one of his essays, on Walter Benjamin, in the little magazine Salmagundi. Since then I have been keeping my ear fairly close to his ground, convinced that messages of exceptional value would be audible. Belatedly, I have read his first book,...
(The entire section is 1900 words.)
SOURCE: A review of Marxism and Form, in Modern Language Review, Vol. 69, No. 3, July, 1974, pp. 599-601.
[In the following review, Culler offers a positive assessment of Marxism and Form.]
Marxism and Form is the most important work of critical theory to appear in English since Northrop Frye’s Anatomy of Criticism, and if it is less ambitious than Frye’s Anatomy, less animated by a desire to systematize and less informed by a particular programme for criticism, it is perhaps the reflection of a more penetrating intelligence which is willing to pursue difficult problems as far as it can and anxious to undertake the larger tasks of...
(The entire section is 1832 words.)
SOURCE: A review of Fables of Aggression, in Modern Fiction Studies, Vol. 26, No. 2, Summer, 1980, pp. 307-10.
[In the following review, Murray offers a negative assessment of Fables of Aggression.]
In his Prologue to Fables of Aggression: Wyndham Lewis, the Modernist as Fascist, Fredric Jameson suggests that one of the most “extreme” of Wyndham Lewis’ “experimental texts,” The Apes of God, is “virtually unreadable for any sustained period of time” (p. 5). Alas, so too is Fables of Aggression.
Jameson’s often digressive study is not itself “experimental,” although it is the result of what Jameson calls a...
(The entire section is 676 words.)
SOURCE: A review of Fables of Aggression, in Criticism, Vol. XXII, No. 4, Fall, 1980, pp. 390-4.
[In the following review, Naremore offers a positive assessment of Fables of Aggression, which he concludes “is the best piece of criticism we have” on Wyndham Lewis.]
“I do not think I had ever seen a nastier-looking man,” Ernest Hemingway once said of Wyndham Lewis. “Under the black hat, when I had first seen them, the eyes had been those of an unsuccessful rapist.” Lewis’s self portrait, leering from the cover of Frederic Jameson’s new book [Fables of Aggression], confirms that impression—as do the violence, misogyny, and fascist...
(The entire section is 1767 words.)
SOURCE: “A Marxist Literary Map,” in Contemporary Review, Vol. 238, No. 1385, June, 1981, pp. 331-2.
[In the following review, Abel provides a summary of Jameson's analysis in The Political Unconscious.]
In The Political Unconscious, subtitled ‘Narrative as a Socially Symbolic Act’, Frederick Jameson provides a comprehensive introduction to the method and practice of Marxist literary criticism. Where all intellectual activity is viewed as historically situated and class-based, literary analysis is essentially a social science, drawing much of its terminology from the other social sciences, sometimes directly but more often by analogy. Thus, the classical...
(The entire section is 483 words.)
SOURCE: A review of The Political Unconscious, in Criticism, Vol. XXIII, No. 4, Fall, 1981, pp. 362-64.
[In the following review, Punter offers a favorable assessment of The Political Unconscious, but takes issue with several aspects of the work.]
In The Political Unconscious, Fredric Jameson has produced another vital contribution to cultural study, packed with solid argument yet glittering with energy and urgency. There is a long theoretical chapter, followed by studies of Balzac, Gissing and Conrad; but the real structure of the book is more complex and more closely interlocking than this, and hinges on a polemic defence of the concept of...
(The entire section is 1173 words.)
SOURCE: A review of Fables of Aggression, in Modern Language Review, Vol. 77, No. 4, October, 1982, pp. 944-45.
[In the following review, Wilding offers a positive assessment of Fables of Aggression.]
Fredric Jameson’s study of Wyndham Lewis [Fables of Aggression] is a stimulating and rewarding approach not only to ‘surely the least read and most unfamiliar of all the great modernists of his generation that included the name of Pound and Eliot, Joyce, Lawrence and Yeats’ but also to that whole strand of modernists from Lewis through Lawrence and Henry Miller to William Burroughs, about whose work traditional formal criticism has had little to say....
(The entire section is 857 words.)
SOURCE: A review of The Political Unconscious, in Modern Language Review, Vol. 80, No. 1, January, 1985, pp. 106-08.
[In the following unfavorable review of The Political Unconscious, Parrinder calls Jameson's writing pedantic and his literary analysis unconvincing.]
If I were to name a single work of commanding distinction in the field of literary theory published in America in the 1970s it would be Fredric Jameson’s Marxism and Form (1971). Its author combined a majestic overview of the twentieth-century Marxist tradition, focusing on the Frankfurt school, Lukács, and Sartre, with a concluding hundred-page essay in theoretical polemic entitled...
(The entire section is 1877 words.)
SOURCE: A review of The Ideologies of Theory, in Journal of Modern Literature, Vol. 16, Nos. 2-3, Fall-Winter, 1988-1989, pp. 270-1.
[In the following review of The Ideologies of Theory, O'Hara acknowledges Jameson's important place in contemporary literary theory, though finds shortcomings in his assertions.]
Of the seventeen reprinted essays in this collection of occasional pieces of America’s leading neo-Marxist theorist [The Ideologies of Theory], only five—two essays in volume one and three in volume two—can be considered still important and undated. These are: “The Ideology of the Text,” “Imaginary and Symbolic in Lacan” (the...
(The entire section is 663 words.)
SOURCE: “The Professor of Necessity,” in The New Republic, February 19, 1990, pp. 34-9.
[In the following review of The Ideologies of Theory, Bromwich finds contradictions in Jameson's “master narrative” concept and criticizes his unsubstantiated critical readings and “curiously messianic” exaltation of postmodernism.]
“I must create a system,” said Blake, “or be enslaved by another man’s.” The vanguard slogans of the human sciences today have a rather different sound. To be ensnared by any number of systems, in succession or all at once: that is the favored stance.
Fredric Jameson, who has published studies of Sartre and...
(The entire section is 5044 words.)
SOURCE: “The Turn of the Screw,” in The Nation, October 15, 1990, pp. 425-7.
[In the following positive review of Late Marxism, Ferber praises Jameson's analysis of Theodor Adorno and dialectical thought, but finds Jameson's prose often hampered by excessive qualification.]
Fredric Jameson’s Late Marxism is the most philosophically sophisticated and searching study of Theodor Adorno to appear in English. Until recently, Adorno was best known in America for his part in the collaborative study The Authoritarian Personality (1950) and for a few essays on the arts, of which two in particular are famous, or infamous: a dismissive essay on jazz...
(The entire section is 2285 words.)
SOURCE: “LA Lore,” in New Statesman & Society, March 15, 1991, p. 34.
[In the following review, Howe offers an unfavorable assessment of Postmodernism, or, The Cultural Logic of Late Capitalism.]
Fredric Jameson is a cool operator. Like the last (and therefore first) man to wear flares, he knows when it’s smart to buck the trend. Being a Marxist, a dialectician, and a historicist right now does not exactly place you in the front ranks of the intellectual beau monde. Yet carry the stance with enough style and dexterity, enough sheer bravado—with any criticism already incorporated into your own scheme—and you emerge ahead of the game.
(The entire section is 898 words.)
SOURCE: A review of Nationalism, Colonialism, and Literature, in World Literature Today, Vol. 65, No. 2, Spring, 1991, pp. 371-72.
[In the following review, Dasenbrock offers an unfavorable assessment of Nationalism, Colonialism, and Literature, citing Jameson's contribution as a “dismal failure.”]
Nationalism, Colonialism, and Literature is a reprinting of three pamphlets published by Field Day in Northern Ireland. These pamphlets differ from others published in the series because the three authors—Terry Eagleton, Fredric Jameson, Edward Said—are all well-known literary theorists who are neither Irish nor critics particularly expert in...
(The entire section is 922 words.)
SOURCE: “Thoughtful Experience,” in Times Literary Supplement, May 24, 1991, p. 29.
[In the following review of Late Marxism, Rosen regards Jameson's book as “thorough and well-informed,” though finds his anticipation of a “Hegelian revival” unconvincing.]
“In the Winter Semester”, wrote one of Theodor Adorno’s graduate students, “we would read Kant and say that Hegel was right. In the Summer Semester Hegel and say Kant was right.” Hardly surprising, then, that Adorno should have left behind a reputation as a kind of philosophical butterfly, flitting from one epistemological vantage-point to another but never remaining in one place long...
(The entire section is 1313 words.)
SOURCE: “Fredric Jameson and the Dilemmas of Late Marxism,” in Raritan, Vol. 11, No. 3, Winter, 1992, pp. 117-30.
[In the following unfavorable review of Postmodernism, or, The Cultural Logic of Late Capitalism, Dasenbrock criticizes Jameson's “old-fashioned Marxism” and “totalizing definition” of postmodernism, citing his selective treatment of contemporary culture and lack of attention to the Third World.]
I should begin by admitting that for me, as perhaps for other readers, the subject matter of Fredric Jameson’s Postmodernism, or, The Cultural Logic of Late Capitalism is not of consistent interest. Some of the work Jameson discusses is...
(The entire section is 4771 words.)
SOURCE: A review of Postmodernism, or, The Cultural Logic of Late Capitalism, in Modern Fiction Studies, Vol. 38, No. 4, Winter, 1992, pp. 1003-5.
[In the following review of Postmodernism, or, The Cultural Logic of Late Capitalism, Hawkins finds Jameson's work caught “between insight and contradiction.”]
In the recent history of Anglo-American theoretical discourse, particularly postmodern theory, Fredric Jameson’s 1984 essay, from which this volume takes its title, stands as a stubbornly influential text. With the publication of this book, Jameson consolidates his reading of postmodernism and his position as America’s leading Marxist cultural...
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SOURCE: A review of Postmodernism, or, The Cultural Logic of Late Capitalism, in British Journal of Aesthetics, Vol. 32, No. 2, April, 1992, pp. 180-1.
[In the following review, Newton offers a positive assessment of Postmodernism, or, The Cultural Logic of Late Capitalism.]
Fredric Jameson is generally regarded as one of the major opponents of post-modernism, viewing it from a Marxist perspective as the product of ‘late capitalism’. Linda Hutcheon in her book, A Poetics of Postmodernism, sees him as ‘inimical’ to it. But, as this book [Postmodernism] shows, to classify Jameson as a critic who attacks post-modernism from a typical Marxist...
(The entire section is 1088 words.)
SOURCE: A review of Postmodernism, or, The Cultural Logic of Late Capitalism, in World Literature Today, Vol. 67, No. 2, Spring, 1993, pp. 459-60.
[In the following review, Flores summarizes Jameson's concerns in Postmodernism, or, The Cultural Logic of Late Capitalism.]
At the outset we are advised that “it is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten to think historically.” Does that proverblike paradox apply to Postmodernism? Does Fredric Jameson attempt to do what the age is said to have forgotten? Working in a slippery environment, his text seems provocatively...
(The entire section is 473 words.)
SOURCE: A review of Postmodernism, or, The Cultural Logic of Late Capitalism, in Modern Language Review, Vol. 89, No. 1, January, 1994, pp. 168-69.
[In the following review, Regan offers positive assessment of Postmodernism, or, The Cultural Logic of Late Capitalism.]
Fredric Jameson’s critique of postmodernism is salutary reading for anyone who might blithely assume that Marxist criticism lies in ruins with the Berlin Wall. It is precisely because Jameson’s vigorous political intelligence resists any simple celebration or easy disavowal of postmodern culture that we are given a book of such enormous intellectual ambition and theoretical complexity. Like...
(The entire section is 877 words.)
SOURCE: “Questions of Looking,” in American Quarterly, Vol. 46, No. 2, June, 1994, pp. 276-89.
[In the following excerpt, Kozol offers a positive assessment of Signatures of the Visible, despite finding several shortcomings in the work.]
In recent decades, interdisciplinary studies of the popular world have brought forth new research on photography, film, and television.1 In the study of visual media, questions arise about how images encode meanings as well as about the complex social experiences of looking. Moving beyond analyses of visual media as transparent reflections of the social world, cultural theories provide methods for examining...
(The entire section is 2400 words.)
SOURCE: “A Stitch or Nine,” in Artforum, Vol. XXXIII, No. 5, January, 1995, pp. 15-6.
[In the following review of The Seeds of Time, Stephanson discusses Jameson's analysis of postmodernity.]
“We are all tired of it.” This was Fredric Jameson’s peremptory reply when he was asked in the late '80s about the post-Modernism debate he himself had done so much to initiate earlier in the decade. He was right, of course. The term, if not the concept, had degenerated into MTV lingo. But here he is, nonetheless, resurrecting the debate with a highly charged intervention.
What has propelled him to do this? Primarily, I think, the geopolitical...
(The entire section is 1689 words.)
SOURCE: “Shut Up and Listen,” in The Nation, May 29, 1995, pp. 762-4.
[In the following review of The Seeds of Time, Schwabsky commends Jameson's intellectual range and subject, but faults his writing as condescending and overly evasive.]
Fredric Jameson is indeed, as both Terry Eagleton and Hal Foster call him on the back of his new book’s jacket, America’s foremost Marxist critic, and he may well be too, as the publisher’s flap copy has it, this country’s leading Marxist theorist. But of what is he a critic, and what is his theory? Those are hard questions to answer, and The Seeds of Time does not make it any easier. Although he is a...
(The entire section is 1899 words.)
SOURCE: A review of The Seeds of Time, in Clio, Vol. 25, No. 2, Winter, 1996, pp. 212-6.
[In the following review, Hutcheon judges The Seeds of Time to be at once “a startlingly insightful work and an irritating mix of generalization and assertion.”]
The three chapters in this, Jameson’s latest engagement with the postmodern, were originally delivered as lectures in the Wellek Library Lecture series at the University of California, Irvine, in 1991, but his style of writing betrays none of this oral context. Jameson’s density of prose has always been the price to pay for his density of thought, and The Seeds of Time is no exception:...
(The entire section is 1859 words.)
SOURCE: “Late Jameson,” in Salmagundi, No. 111, Summer, 1996, pp. 213-32.
[In the following review, Harpham provides an overview of Jameson's writings and intellectual development and offers an unfavorable assessment of The Seeds of Time, which he views as a “softening” and capitulation of Jameson's Marxism for an ineffectual postmodern perspective.]
Forever, it seems, Fredric Jameson has been described as “America’s leading Marxist critic.” Since the appearance of the challenging and sternly magisterial Marxism and Form in 1971, nobody else has had a shred of a claim to this title, certainly not now, when to be the foremost Marxist might...
(The entire section is 7825 words.)
SOURCE: A review of The Seeds of Time, in Modern Philology, Vol. 94, No. 3, February, 1997, pp. 422-6.
[In the following review of The Seeds of Time, Foley finds Jameson's commentary useful despite its failure to address historical causality, praxis, and the relationship between utopia and communism.]
In The Seeds of Time, Fredric Jameson’s large imagination and insistent dissatisfaction with things as they are move us toward new insights into the nature of our postmodern malaise and new zones of cultural critique. In the first chapter, “The Antinomies of Postmodernity,” Jameson pursues the project of “cognitive mapping” proposed at the...
(The entire section is 1764 words.)
SOURCE: “It's Irony, Guv,” in New Statesman, February 26, 1999, pp. 55-7.
[In the following excerpt, Gott discusses Jameson's analysis of postmodernity in The Cultural Turn.]
Everyone now recognises that we live in a postmodern world. In architecture and design, in film and music, in art and fiction, in poetry and literary criticism, even in politics, postmodernity is everywhere on display: cynicism and levity, irony and pastiche, nostalgia coupled with historical amnesia, and decoration replacing substance. So obvious and widespread has the phenomenon become that people use this shorthand word with relaxed ease to describe the world around them.
(The entire section is 1260 words.)
SOURCE: A review of Brecht and Method, in Modern Drama, Vol. XLII, No. 2, Summer, 1999, pp. 286-9.
[In the following review, Gransow and Kleber offer a positive assessment of Brecht and Method.]
The nineties have brought an increase in both the quality and the quantity of Brecht studies in general, although improved archival access has so far not led to a new Brecht biography worth the name. Among the vast recent Brecht literature one book is outstanding: Fredric Jameson’s Brecht and Method. Professor of Comparative Literature at Duke University in North Carolina, Jameson is the author of many works, including the classic Postmodernism or, The...
(The entire section is 1490 words.)
SOURCE: “In the Faculty Club,” in Times Literary Supplement, August 20, 1999, p. 8.
[In the following review, Berger criticizes The Cultures of Globalization, which he finds “one-sided” and reflective of insular “faculty-club culture.”]
The Cultures of Globalization is a collection of papers delivered at a conference held in 1994 at Duke University. It is part of a series co-edited by the literary theorist Stanley Fish, and is dedicated to Edward Said. One notes these signifiers (if that is the correct term) with apprehension. And as one labours through almost 400 pages of the text, it becomes clear that the apprehension was justified....
(The entire section is 1404 words.)
Bjornson, Richard. Review of Nationalism, Colonialism, and Literature by Fredric Jameson. Comparative Literature 45, No. 3 (Summer 1993): 300-03.
A review where Bjornson offers a positive assessment of Nationalism, Colonialism, and Literature.
Bradbury, Malcolm. “Isn't That Spatial?” New York Times Book Review (12 April 1992): 32.
Review of Postmodernism, or, The Cultural Logic of Late Capitalism.
Conroy, Mark. Review of Late Marxism, by Fredric Jameson. Southern Humanities Review XXVII, No. 4 (Fall 1993): 382-88.
(The entire section is 532 words.)