scholarly journals Frederic Jameson e o problema das alegorias nacionais do terceiro mundo

2021 ◽  
pp. 430-463
Author(s):  
Wibsson Ribeiro Lopes
Keyword(s):  
World Literature ◽  
Frederic Jameson ◽  
Fredric Jameson ◽  
Research Collective

O presente artigo revisita as elaborações de Fredric Jameson sobre a Literatura do Terceiro Mundo e o debate que se seguiu às suas reflexões. Fazemos um apanhado das alterações e reparos que Jameson fez de seu pensamento ao longo das décadas de críticas e embates. Por fim, apresentamos uma hipótese de leitura das elaborações do Warwick Research Collective (Wreck) como respostas às críticas que Jameson sofreu e também como continuação de suas elaborações. Tanto o crítico estadunidense como o coletivo de pesquisadores representam com seus aportes teóricos uma via de debate para o marxismo na área dos estudos pós-coloniais dentro do campo literário, a partir da Teoria do Sistema-Mundo e da Teoria do Desenvolvimento Desigual e Combinado, contribuindo com a problemática da World-Literature.

Style

2020 ◽  
Author(s):  
Daniel Hartley
Keyword(s):  
World Literature ◽  
The Body ◽  
Ruling Class ◽  
Modern Democracy ◽  
Ecriture Feminine ◽  
Modern Style ◽  
History Of ◽  
Raymond Williams ◽  
Biological Maturity ◽  
Fredric Jameson

Modern style emerged from the ruins of the premodern “separation of styles” (high, middle, and low). Whereas, previously, only the nobility could be represented in the high style and commoners in the low, modern style harbors a democratic, generic potential: in principle, anyone can write about anything in any way he or she likes. The history of modern style, as a central critical and compositional principle, is thus deeply imbricated with modern democracy and capitalist modernity. It has a unique relationship to the history of realism, which was itself premised upon the demise of the separation of styles. Many critics (e.g., Erich Auerbach, Roland Barthes, and Fredric Jameson) stress the way in which, as a concept and linguistic practice, style connects the body to a generic, Utopian potential of the everyday. Feminist critics, such as Hélène Cixous and Luce Irigaray, have pursued style’s relationship to the body to delineate a specifically feminine mode of writing [écriture féminine]. Marxist critics, such as Raymond Williams, have argued that style should be understood as a linguistic mode of social relationship. The corollary is that social contradictions are experienced by writers as problems of style (e.g., in Thomas Hardy: how to unite the “educated” style of the urban ruling class with the “customary” style of the rural working class into a single artistic whole). Other critics (e.g., Franco Moretti, Roberto Schwarz) have extended this logic to the scale of “world literature:” they identify stylistic discontinuity as a feature of peripheral world literature that seeks to imitate European realist forms; it is caused by a mismatch between prevailing modes of production and dominant ideologies at the core and the (semi-)periphery of the capitalist world-system. Free indirect style, which merges narrator and character into a new, third voice, has been identified as a key feature of prose fiction in the world-systemic core—the symbolic embodiment of modern, bourgeois forms of power (an “impersonal intimacy”). Finally, “late style”—a concept associated with Theodor W. Adorno and Edward W. Said—has become an influential way of characterizing works of artistic maturity written as the author approaches old age and death (though it is certainly not limited to biological maturity). It is a style in which form and subjectivity become torn from one another, the latter freeing itself only then to subtract itself (rather than “express” itself). Style thus hovers between the impersonality of the demos and the grave.

scholarly journals Frederic Jameson et la dialectique de l’affect

2011 ◽  
pp. 23-45
Author(s):  
Bev Best ◽  
Alexis Langevin-Tétreault ◽  
Marie-Nathalie Martineau
Keyword(s):  
Felix Guattari ◽  
Frederic Jameson ◽  
Fredric Jameson

Les écrits de Deleuze, et en particulier ceux faits en collaboration avec Félix Guattari, ont généré une pléthore de critiques et d’analyses en théorie culturelle, sociale et politique. Deux mouvances conceptuelles en particulier, caractéristiques du tournant culturel, constituent l’intérêt central de cet article; soit la mobilisation et la place prépondérante du concept de l’affect, ainsi que la critique sévère, voire même l’abandon du concept de médiation. D’une part, ces deux mouvances sont souvent représentées comme étant deux dimensions d’un même processus analytique. D’autre part, elles sont souvent comprises comme une relation de cause à effet dans le récit historique du capitalisme tardif. L’affect émerge en tant que mécanisme important de l’organisation du social, du tournant culturel récent — qui sera appelé ici postinterprétatif— parce que le processus de médiation est devenu redondant et n’est plus considéré comme une avenue pour comprendre la formation sociale du capitalisme tardif. Cela n’est pourtant pas le résultat d’une séquence chronologique. En effet, cette séquence pourrait être renversée et décrire un moment où la médiation devient redondante du fait que l’affect devient un mécanisme important de l’organisation du social. L’article montre que cette relation de cause à effet entre l’affect et la médiation peut être considérée comme une relation dialectique et que l’affect et la médiation ne sont pas opposés, mais doivent plutôt être compris comme deux effets interreliés d’un même processus historique. Ces démonstrations analytiques, du moins dans la façon dont elles sont présentées et articulées dans les écrits de Fredric Jameson, sont compatibles avec une approche postinterprétative en théorie culturelle.

All or Nothing: Reading Franco Moretti Reading

2016 ◽  
Vol 24 (3) ◽  
pp. 185-205 ◽  
Author(s):  
Carolyn Lesjak
Keyword(s):  
Literary History ◽  
World Literature ◽  
Digital Technologies ◽  
Distant Reading ◽  
New Methods ◽  
The World ◽  
Dialectical Relationship ◽  
Bourgeois Culture ◽  
Fredric Jameson ◽  
The Relationship

Published in tandem in 2013, Franco Moretti’s two most recent books continue his on-going project to develop radical new methods of literary history and to propose new formulations and frameworks for understanding the relationship between form and history and form and ideology. Bringing together the series of essays through which he developed his concept of distant reading, his collection of the same name argues for a ‘falsifiable criticism’ grounded in the data now available through digital technologies and for the concept of a ‘world literature’ that it is the task of comparatists to theorise. His book on the bourgeois – characterised by Moretti as a project of an entirely different nature – finds in the minutiae of language the construction of a bourgeois culture in which the figure of the bourgeois himself ultimately disappears. Contra Moretti, the review contends that these books are deeply interrelated and that the limits of Moretti’s method are to be found specifically in the issues of scale raised by reading these two works in dialectical relationship to each other. In particular, while Moretti importantly forces us to confront in world literature what Fredric Jameson refers to as the ‘scandal of multiplicity’, his method is unable, in the end, to account for a reading of the world in literature in which both the empirical fact of a dead history and the allegorical possibility of another history already in the making can be found.

scholarly journals Offshore Mysteries, Narrative Infrastructure: Oil, Noir, and the World-Ocean

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 71
Author(s):  
Harry Pitt Scott
Keyword(s):  
World Literature ◽  
Methodological Approach ◽  
World Ocean ◽  
State Regulation ◽  
Legal Form ◽  
Nation States ◽  
The World ◽  
Spatial Environment ◽  
Fredric Jameson ◽  
Infrastructural Power

Situated within debates of world literature, petrocultures, and the blue humanities, this article provides a methodological approach to interpreting genre, energy forms, and world-literature. This relies on Dominic Boyer’s concept of ‘energopolitics’ (adapted from Foucault’s biopolitics), which considers the codependence of political power, electricity, fuel and energy infrastructure. Echoing Fredric Jameson (1981) and Patricia Yaeger (2011), the article argues that looking for a text’s ‘energopolitical unconscious’ is a means of discerning the way energopolitics and energy are encoded in world-literary plot, form, and genre. Then, it turns to a comparative reading of two novels, Carlos Fuentes’s The Hydra Head (1978) and Ian Rankin’s Black & Blue (1997), to argue that such novels provide an understanding of relationships between world-literary genre, forms of energy, and the world-oceanic regime of the offshore. The offshore is a juridical-spatial regime that circumvents nation-state regulation through extraterritorial ownership practices. It is a political and infrastructural power over the oceanic flows of capital and energy, to produce a spatial environment that exceeds the juridical boundaries of nation-states. Thus, if the world-ocean is the space upon which fossil capital depends for its realisation, the offshore is the legal form of fossil capital in the world-ocean. Finally, the article argues that noir mysteries are the genre of the offshore, as it is a genre particularly capable of indexing its social tensions. Noir’s settings and atmospheres are intimately connected with petromodernity’s infrastructure: hotels, highways, flickering streetlights and eerie hinterlands, ports and warehouses; the mystery is an excellent formal device, providing both narratorial motivation and a code for traversing imagined territories and detecting their secrets. At the same time, noir’s generic investment in investigations of legality and power—its ‘legal grammar’—makes it a useful stage through which to pursue questions of sovereignty, ocean-space, territory, and juridical forms.

scholarly journals World Literature and the Problem of Postcolonialism

2021 ◽  
pp. 57-74
Author(s):  
Lorna Burns
Keyword(s):  
World Literature ◽  
Gilles Deleuze ◽  
A Priori ◽  
World System ◽  
World Systems ◽  
Bruno Latour ◽  
Jacques Ranciere ◽  
The World ◽  
Literature Theory ◽  
Research Collective

This essay identifies in the materialist strand of world literature theory, especially Pascale Casanova and the Warwick Research Collective, a reliance upon a priori structures (the world-system) and prioritisation of the literary registration of inequality. By contrast, I contend, world-literary critics who wish to maintain the dissident spirit of postcolonialism ought to demonstrate a shared equality. By reference to the philosophies of Bruno Latour, Gilles Deleuze and Jacques Rancière, this essay sets out the case for an alternative to world-systems critique: one that maintains literature’s potential for creating new forms of resistance, dissent, and, crucially, equality.

scholarly journals Fredric JAMESON, "Raymond Chandler. The Detections of Totality", London / New York: Verso, 2016 (Book Review: J. M. García Gómez del Valle, "Constelaciones. Revista de Teoría Crítica" 8-9/2017)

2018 ◽  
Author(s):  
josé m. garcía gómez del valle
Keyword(s):  
New York ◽  
Martin Heidegger ◽  
Crime Fiction ◽  
The Political ◽  
Raymond Chandler ◽  
Political Unconscious ◽  
Princeton University ◽  
Frederic Jameson ◽  
Fredric Jameson

PDF: http://constelaciones-rtc.net/article/view/1328/pdfdialnet: https://goo.gl/EvfUErjosé m. garcía gómez del valle: "jameson, f., raymond chandler. the detections of totality"en: constelaciones: revista de teoría crítica, issn-e 2172-9506, vol. 8-9, 2017 (ejemplar dedicado a: marx, la teoria crítica y el presente: legados, actualizaciones, reapropiaciones), págs. 508-516.reseña de: frederic jameson: the detections of totality, london/new york : verso, 2016.***bibliografía: * BRUCCOLI, mathew j.: «raymond chandler y hollywood», epílogo a: raymond chandler, la dalia azul, trad. h. alcina y h. vázquez, barcelona: bruguera, 1986.* CHANDLER, raymond: farewell, my lovely, new york: vintage books, 1976.* CHANDLER, raymond: «introduction», en: idem, pearls are a nuisance, middlesex: penguin in association with hamish hamilton, 1979.* CHANDLER, raymond: raymond chandler speaking, ed. d. gardiner y k. s. walker, london: hamish hamilton, 1962.* CHANDLER, raymond: the big sleep, london: penguin books, 2005.* DURHAM, philip: «introducción», en: raymond chandler: asesino en la lluvia, trad. d. prika, barcelona: bruguera, 1978.* JAMESON, fredric: la cárcel del lenguaje. perspectiva crítica del estructuralismo y del formalismo ruso, trad. c. manzano, barcelona: ariel, 1979.* JAMESON, fredric: marxism and form. twentieh-century dialectical theories of literature, princeton: princeton university press, 1974.* JAMESON, fredric: the political unconscious. narrative as a socially symbolic act, london/new york: routledge, 2002.* KNIGHT, stephen: form and ideology in crime fiction, london/ basingstoke: the macmillan press, 1980.* KRACAUER, siegfried: der detektiv-roman. ein philosophischer traktat, frankfurt/m.: suhrkamp, 1979.* LEYTE, arturo: post scriptum a ‹el origen de la obra de arte› de martin heidegger, madrid: la oficina de arte y ediciones, 2016.* MACSHANE, frank: la vida de raymond chandler, trad. p. giralt, barcelona: bruguera, 1977.* MANDEL, ernest, ein schöner mord. sozialgeschichte des kriminalromans, trad. n. th. lindquist, frankfurt/m.: athenäum, 1987.Journal Name: 'constelaciones: revista de teoría críticaVolume: 8-9Publication Date: 2017Publication Name: PDF: goo.gl/o77WZh Constelaciones: Revista de Teoría Crítica (ISSN-e 2172-9506), Vol. 8-9, 2017: "Marx, la Teoria Crítica y el presente: Legados, actualizaciones, reapropiaciones"

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