Suchergebnisse

Unter kulturpolitischen, historischen und ideologiekritischen Aspekten beschreibt der Autor mit Bezug auf vorhandene Literatur die Entwicklung der künstlerischen Praxis und der Diskussion der Postmoderne in den USA und Europa. Er zeigt Parallelen zwischen den Diskussionen um die Entwicklung der pluralistischen Erscheinungsformen der Postmoderne in Malerei, Film, Literatur, Musik und Architektur und der Entwicklung des multinationalen Spätkapitalismus. Als kulturpolitische Aufgabe begreift er die weltweite Zuordnung der kulturellen Phänomene und ihrer Wahrnehmung zu gesellschaftlichen Bereichen. (HD)

Representing Capital, Fredric Jamesonʹs first book-length engagement with Marxʹs magnum opus, is a unique work of scholarship that records the progression of Marxʹs thought as if it were a musical score. The textual landscape that emerges is the setting for paradoxes and contradictions that struggle toward resolution, giving rise to new antinomies and a new forward movement. These immense segments overlap each other to combine and develop on new levels in the same way that capital itself does, stumbling against obstacles that it overcomes by progressive expansions, which are in themselves so many leaps into the unknown. Marxʹs fundamental concepts are not presented philosophically, or in social-scientific terms, but rather as a series of figures produced by the development of the text. Jameson grasps Marxʹs work as a representational problem and an experiment in constructing the figure or model of the inexpressible phenomenon that is capital. -- Publisher description

Abstract
Focusing on the interplay of religion and Utopia in Fredric Jameson's recent Archaeologies of the Future, I identify a tension: on the one hand, the content of religion has been superseded (although not its forms), yet, on the other, Jameson still wishes to make use of a hermeneutics of suspicion and recovery in which even the most retrograde material may be recuperated—religion included. So we find a clash underway in this work. Sometimes Jameson sidelines religion, as one would expect if religion was no longer relevant. At other times, he exercises his dialectical hermeneutics, particularly at two moments: first, a recovery, via Feuerbach, of the role of magic within fantasy literature; second, the partial treatment of apocalyptic, which comes very close to his own argument for Utopia as rupture. From here, I develop the dialectic of ideology and Utopia further by expanding Jameson's comments on the possibilities of medieval theology and the utopian role of religion (both Catholic and Protestant) in More's Utopia.

This article explores the unique status accorded to aesthetics in György Lukács's work, with particular focus on his Heidelberg writings of the 1910s, and their thematic echoes in Lukács's late Aesthetics, straddling the shift in Lukács's philosophical framework from neo-Kantianism and Weberianism to Hegelian Marxism. It suggests that these writings, discovered after Lukács's death and still marginal to scholarship on the Hungarian thinker, provide a singular illumination on many of the leitmotivs of Lukács's oeuvre. In particular, the essay considers the shapes taken in these early writings by the subject-object dialectic and the concept of form, as well as the foreshadowings of Lukács's theories of ideology and standpoint.