Fredric Jameson

Source: Wikipedia, the free encyclopedia.

Fredric Jameson
School
Institutions
Doctoral studentsKim Stanley Robinson[1]
Sara Danius[2]
Notable studentsJohn Beverley[3][4]
Main interests
Notable ideas

Fredric Ruff Jameson (April 14, 1934 – September 22, 2024) was an American literary critic, philosopher and Marxist political theorist.[6] He was best known for his analysis of contemporary cultural trends, particularly his analysis of postmodernity and capitalism. Jameson's best-known books include Postmodernism, or, The Cultural Logic of Late Capitalism (1991)[7] and The Political Unconscious (1981).

Jameson was the Knut Schmidt Nielsen Professor of Comparative Literature, Professor of Romance Studies (French), and Director of the Institute for Critical Theory at Duke University.[8] In 2012, the Modern Language Association gave Jameson its sixth Award for Lifetime Scholarly Achievement.[9]

Early life and works

Fredric Ruff Jameson was born in Cleveland, Ohio, on April 14, 1934.[10][11] He was the only child of Frank S. Jameson (c.1890–?), a New York-born medical doctor with his own private practice, and Bernice née Ruff (c.1904–1966), a Michigan-born Barnard College graduate who did not work outside the family home.[12][13][14] Both his parents had non-wage income over $50 in 1939 (about USD$1130 in 2024).[12][15] By April 1935 he moved with his parents to Gloucester City, New Jersey,[12] and by 1949 the family occupied a house in the nearby middle-class suburb of Haddon Heights, New Jersey.[13] He graduated from Moorestown Friends School in 1950.[16]

He completed a

Wayne Booth,[19] to whom A Singular Modernity (2002) is dedicated. After graduation in 1954 he briefly traveled to Europe, studying at Aix-en-Provence, Munich, and Berlin, where he learned of new developments in continental philosophy, including the rise of structuralism. He returned to America the following year to study at Yale University under Erich Auerbach in pursuit of a PhD, which was awarded in 1959 for a dissertation on The Origins of Sartre's Style.[20][21]

Career summary

From 1959 to 1967 he taught French and Comparative Literature at Harvard University.[1]

He was employed by the University of California, San Diego from 1967[note 1] to 1976, where he worked alongside Herbert Marcuse.[4] He taught classes on Marxist literary criticism, the Frankfurt School, the French novel and poetry, and Sartre.[4] He was then hired by Yale University through Paul de Man[23] in 1976, and by the University of California, Santa Cruz in 1983.[1]

In 1985 he joined Duke University as Professor of Literature and Professor of Romance Studies. He established the literary studies program at Duke and held the William A. Lane Professorship of Comparative Literature, renamed in 2013, as Knut Schmidt Nielsen Distinguished Professorship of Comparative Literature.[24]

In 1985 he was elected to the American Academy of Arts and Sciences.[25]

Early works

doctoral dissertation, published in 1961 as Sartre: The Origins of a Style. Auerbach's concerns were rooted in the German philological tradition; his works on the history of style analyzed literary form within social history. Jameson would follow in these steps, examining the articulation of poetry, history, philology, and philosophy in the works of Jean-Paul Sartre, who was the subject of his dissertation.[10]

Jameson's work focused on the relation between the style of Sartre's writings and the political and ethical positions of his existentialist philosophy. The occasional Marxian aspects of Sartre's work were glossed over in this book; Jameson would return to them in the following decade.[26]

Jameson's dissertation, though it drew on a long tradition of European cultural analysis, differed markedly from the prevailing trends of Anglo-American academia (which were empiricism and logical positivism in philosophy and linguistics, and New Critical formalism in literary criticism). It nevertheless earned Jameson a position at Harvard University.[10]

Research into Marxism

His interest in Sartre led Jameson to intense study of

Theodor Adorno, the literary and critical work of the Western Marxists was still largely unknown in American academia in the late-1950s and early-1960s.[27]

Jameson's shift toward Marxism was also driven by his increasing political connection with the

Theodor Adorno, Walter Benjamin, Herbert Marcuse, Louis Althusser, and Sartre, who viewed cultural criticism as an integral feature of Marxist theory. In 1969, Jameson co-founded the Marxist Literary Group with a number of his graduate students at the University of California, San Diego.[29]

While the

Orthodox Marxist view of ideology held that the cultural "superstructure" was completely determined by the economic "base", the Western Marxists critically analyzed culture as a historical and social phenomenon alongside economic production and distribution or political power relationships. They held that culture must be studied using the Hegelian concept of immanent critique: the theory that adequate description and criticism of a philosophical or cultural text must be carried out in the same terms that text itself employs, in order to develop its internal inconsistencies in a manner that allows intellectual advancement. Marx highlighted immanent critique in his early writings, derived from Hegel's development of a new form of dialectical thinking that would attempt, as Jameson comments, "to lift itself mightily up by its own bootstraps".[30]

Narrative and history

History came to play an increasingly central role in Jameson's interpretation of both the reading (consumption) and writing (production) of

Hegelian-Marxist philosophy with the publication of The Political Unconscious: Narrative as a Socially Symbolic Act, the opening slogan of which is "always historicize" (1981).[10] The Political Unconscious takes as its object not the literary text itself, but rather the interpretive frameworks by which it is now constructed. As Jonathan Culler has observed, The Political Unconscious emerged as an alternative method to interpret literary narratives.[31]

The book's argument emphasized history as the "ultimate horizon" of

aesthetic terms were recast in terms of historical literary practices and norms, in an attempt to develop a systematic inventory of the constraints they imposed on the artist as an individual creative subject. To further this meta-commentary, Jameson described the ideologeme, or "the smallest intelligible unit of the essentially antagonistic collective discourses of social classes", the smallest legible residue of the real-life, ongoing struggles occurring between social classes.[32][note 2]

Jameson's establishment of history as the only pertinent factor in this analysis, which derived the categories governing artistic production from their historical framework, was paired with a bold theoretical claim. His book claimed to establish Marxian literary criticism, centered in the notion of an artistic mode of production, as the most all-inclusive and comprehensive theoretical framework for understanding literature.[34] According to Vincent B. Leitch, the publication of The Political Unconscious "rendered Jameson the leading Marxist literary critic in America."[35]

Analysis of postmodernism

Main article: Postmodernism, or, the Cultural Logic of Late Capitalism

Background

It is Jameson's contribution to a conception and analysis of postmodernism that has had the most impact in its breadth and reach.[36] At the time of his death in 2024, it was generally recognized that he was the preeminent critic of postmodernism.[37] Jameson's contention was that postmodernism is the cultural expression of our own current period of late capitalism.[38][39] Postmodernism represents the form of an enormous cultural expansion into an economy of spectacle and style, rather than the production of goods.[40][37]

Jameson developed this form of analysis during a time when "an art-historical debate had wondered for several years whether our age had moved beyond modern art and on to 'postmodern' art".[36] Jameson joined in on the debate in 1984 with his article titled "Postmodernism, or, the Cultural Logic of Late Capitalism" that was first published in the journal New Left Review.[41] He later expanded the article into a book, which he published in 1991.

Jameson's argument

Jameson's argument centered around his assertion that the various phenomena of the postmodern had been, or could have been, understood successfully within a modernist framework.[37] This differed from the most prominent views of the postmodern condition that existed at that time. In Jameson's view, postmodernity's merging of all discourse into an undifferentiated whole was the result of the colonization of the cultural sphere—which had retained at least partial autonomy during the prior modernist era—by a newly organized corporate capitalism.[42][note 3]

Following

Adorno and Horkheimer's analysis of the culture industry, Jameson discussed this phenomenon in his critical discussion of architecture, film, narrative, and visual arts, as well as in his strictly philosophical work.[42] For Jameson, postmodernism, as a form of mass-culture driven by capitalism, pervades every aspect of our daily lives.[36]

Key concepts

Two of Jameson's best-known claims from Postmodernism, or, the Cultural Logic of Late Capitalism are that post-modernity is characterized by "

postmodern cultural texts indiscriminately cannibalize these elements, erasing any sense of critical or historical distance, resulting in pure pastiche.[44]

Relatedly, Jameson argues that the postmodern era suffers from a crisis in historicity: "there no longer does seem to be any organic relationship between the [...] history we learn from schoolbooks and the lived experience of the current, multinational, high-rise, stagflated city of the newspapers and of our own everyday life".[45]

Jameson's analysis of postmodernism attempts to view it as historically grounded; he therefore explicitly rejects any moralistic opposition to postmodernity as a cultural phenomenon. Instead, Jameson insists upon a Hegelian immanent critique that would "think the cultural evolution of late capitalism dialectically, as catastrophe and progress all together".[46][36]

Other concepts

Some of Jameson's other well-known concepts and philosophical contributions —not mentioned in the preceding section or tangential to his critique of postmodernism— include the concepts of "cognitive mapping"

antagonism as the principle of totalisation.[53]

Later work

Several of Jameson's later works, along with Postmodernism, are part of what he called both a "sequence" and "project" entitled The Poetics of Social Forms.[36] This project attempts, in Sara Danius's words, to "provide a general history of aesthetic forms, at the same time seeking to show how this history can be read in tandem with a history of social and economic formations".[54] While the individual works are formally named on the flyleaf of Inventions of a Present, its more nuanced structure—six volumes comprising seven publications grouped into three subdivisions—can be gleaned from mentions in the books themselves.[note 4]

Archaeologies of the Future is a study of utopia and science fiction that was launched at Monash University in Melbourne, Australia. The Antinomies of Realism won the 2014 Truman Capote Award for Literary Criticism.[60]

Alongside this project, Jameson published three related studies of

Phenomenology of Spirit; and Representing Capital: A Reading of Volume One (2011), an analysis of Marx's Das Kapital.[61][62][63][64]

An overview of Jameson's work, Fredric Jameson: Live Theory, by Ian Buchanan, was published in 2007.

Personal life and death

Jameson was married to Janet Jameson, and then to Susan Willis, and had two sons and five daughters in the two marriages.[10] He died at his home in Killingworth, Connecticut, on September 22, 2024, at the age of 90.[10][65]

Recognition, influence, and legacy

MLA awards and honors

The Modern Language Association (MLA) recognized Jameson throughout his career. In 1971, Jameson earned the MLA's William Riley Parker Prize.[9] Twenty years later, it awarded him its 1991 James Russell Lowell Prize for Postmodernism, or, The Cultural Logic of Late Capitalism.[66]

The latter has remained a landmark publication in its field since it was published in 1991,[67] and is still Duke University Press's all-time bestseller (as of 2024).[68] Jameson was again recognized by the MLA, this time in 2012, with its MLA Lifetime Achievement Award.[68]

Holberg International Memorial Prize

In 2008, Jameson was awarded the annual

Minister of Education and Research, in Bergen, Norway, on November 26, 2008.[70]

Lyman Tower Sargent Distinguished Scholar Award

In 2009, Jameson was awarded the Lyman Tower Sargent Distinguished Scholar Award by the North American Society for Utopian Studies.[67] Jameson was given credit for his "significant role in introducing to an English reading audience the rich theorizations of Utopia found in German critical theory, in works written by Walter Benjamin, Herbert Marcuse, and most significantly, Ernst Bloch." It was also noted that "the question of Utopia is central to all of Jameson's work."[67]

Influence in China

Further information: Postmodernism in China

Jameson has had an influence on the theorization of the postmodern in China. In mid-1985, shortly after the beginning of the cultural fever (early 1985 to the 1989 Tiananmen Square massacre)—a period in Chinese intellectual history characterized in part by intense interest in Western critical theory, literary theory, and related disciplines[71]—Jameson discussed the idea of postmodernism in China in lectures at Peking University and the newly founded Shenzhen University.[72][73][note 5]

In 1987, Jameson published a book entitled Postmodernism and Cultural Theories.[note 6] Although the Chinese intelligentsia's engagement with postmodernism would not begin in earnest until the nineties, Postmodernism and Cultural Theories was to become a keystone text in that engagement; as scholar Wang Ning writes, its influence on Chinese thinkers would be impossible to overestimate.[73][note 7][note 8]

This debate over postmodernism, in part fueled by Jameson, was at its most intense from 1994 to 1997, carried on by Chinese intellectuals both inside and outside the mainland; particularly important contributions came from Zhao Yiheng in London, Xu Ben in the United States, and Zhang Xudong, also in the United States, who had gone on to study under Jameson as a doctoral student at Duke.[72]

Legacy

In 2011, Rey Chow, then chair of Duke University's literature program, reflected on Jameson's career on the occasion of presenting him with a lifetime achievement award:

One would be hard put to find a humanities scholar who is more widely visible and more frequently cited across the disciplines, and who has sustained national and international critical attention for a more extended period of time than Fred Jameson[9]

Robert T. Tally Jr.'s review for Jacobin of the 2024 work Inventions of a Present: The Novel in Its Crisis of Globalization described Jameson as:

at the height of his powers, carving out his novel alternative ... [and that] ... for over five decades, Fredric Jameson has been the leading Marxist literary and cultural critic in the United States, if not the world[75]

A memorial piece published by the editorial team of the Marxist journal Historical Materialism: Research in Critical Marxist Theory described Jameson as an "intellectual giant" responsible for an "enduring legacy that has inspired generations of thinkers, activists and scholars".[6] They praised Jameson for his "militant commitment to a materialist reading of moments of struggle and revolt, utopia and liberation in cultural texts."[6]

Another memorial essay in The Nation observed that Jameson has emerged as a figure who "not only amassed one of the most impressive bodies of work within his field but who also was, fundamentally, someone who believed in criticism as a discourse, between teacher and pupil, between the work and the public".[37]

Publications

Books

Selected articles

See also

Wikiquote has quotations related to Fredric Jameson.

Notes

  1. ^ By his own account, he only arrived in San Diego in late 1968.[22]
  2. Pavel Nikolaevich Medvedev in their work The Formal Method in Literary Scholarship and was later popularised by Julia Kristeva. Kristeva defined it as "the intersection of a given textual arrangement ... with the utterances ... that it either assimilates into its own space or to which it refers in the space of exterior texts ...".[33]
  3. ^ According to Douglas Kellner:

    "Following Ernest Mandel's periodization in his book Late Capitalism (1975), Jameson claims that "there have been three fundamental moments in capitalism, each one marking a dialectical expansion over the previous stage. These are market capitalism, the monopoly stage or the stage of imperialism, and our own, wrongly called postindustrial, but what might better be termed multinational, capital". To these forms of society correspond the cultural forms realism, modernism, and postmodernism."[42]
  4. ^
    • IA. Categories of the Narrative-Historical (unpublished at the time of his death)
    • IB. Allegory and Ideology (2019), "the second volume of The Poetics of Social Forms."[55]
    • IIA. The Antinomies of Realism (2013), "the third volume of the sequence called The Poetics of Social Forms."[56]
    • IIB1. A Singular Modernity (2002), "the theoretical section of the antepenultimate volume of The Poetics of Social Forms."[57]
    • IIB2. The Modernist Papers (2007), "[these analyses] are meant to accompany my A Singular Modernity as a kind of source-book."[58]
    • IIC. Postmodernism (1991), "the third and last section of the penultimate subdivision of a larger project entitled The Poetics of Social Forms."[55]
    • III. Archaeologies of the Future (2005), "the concluding volume of The Poetics of Social Forms."[59][36]
  5. ^ Jameson's ideas as presented at Peking University had an impact on some students, including Zhang Yiwu and Zhang Xudong, scholars whose work would come to play an important role in the analysis of postmodernity in China.[74]
  6. ^ (Chinese: 后现代主义与文化理论; pinyin: Hòuxiàndàizhǔyì yǔ wénhuà lǐlùn), translated into Chinese by Tang Xiaobing.
  7. ^ Its popularity may be partially due to the fact that it was not written in a dense style and so it was possible to use the text as both praise and/or criticism of the Chinese manifestation of postmodernity.[73]
  8. ^ However, in Wang Chaohua's interpretation of events, Jameson's work was mostly used to support and praise, and therefore amounted to a fundamental misreading of Jameson:

    The caustic edge of Jameson's theory, which had described postmodernism as "the cultural logic of late capitalism", was abandoned for a contented or even enthusiastic endorsement of mass culture, which [a certain group of Chinese critics] saw as a new space of popular freedom. According to these critics, intellectuals, who conceived of themselves as the bearers of modernity, were reacting with shock and anxiety at their loss of control with the arrival of postmodern consumer society, uttering cries of "quixotic hysteria", panic-stricken by the realization of what they had once called for during the eighties.[72]
  9. ^ For more information see: The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism
  10. ^ A collection of Field Day Pamphlets by the three authors.

References

Citations

  1. ^ a b c "Jameson, Fredric", The Encyclopedia of Science Fiction, September 12, 2022, archived from the original on September 20, 2024, retrieved September 24, 2024
  2. ^ Orthofer, M.A. (December 22, 2014), "Swedish Academy news", The Literary Saloon, archived from the original on December 22, 2014
  3. ISBN 978-90-272-1711-0
  4. ^
    ISBN 978-1-930744-32-5. Reprinted in his Políticas de la teoría. Ensayos sobre subalternidad y hegemonía, ed. Sergio Villalobos-Ruminott, Caracas: Rómulo Gallegos Center for Latin American Studies, 2011 (manuscript copy) and Sobre los límites del campo. Ensayos de crítica literaria latinoamericanista, Raleigh, NC: University of North Carolina Press
    , 2022.
  5. ^ Mohanty 1997, pp. 93–115.
  6. ^ a b c Sotiris, Panagiotis (September 22, 2024). "Fredric R. Jameson (1934–2024)". Historical Materialism.
  7. OCLC 948832273
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  8. ^ "Fredric Jameson". Duke University – Scholars@Duke. Retrieved June 2, 2023.
  9. ^ a b c "Fredric Jameson to Receive Lifetime Achievement Award". Today.duke.edu. December 4, 2011. Retrieved October 2, 2017.
  10. ^
    ISSN 0362-4331. Archived from the original
     on September 23, 2024. Retrieved September 23, 2024.
  11. ^ Roberts 2000, p. 2.
  12. ^ a b c "Frederick Jameson", United States census, 1940; Gloucester City, Camden, New Jersey; roll T627 2321, page 61A [i.e. 16A], line 15, enumeration district 52, National Archives film number 131751142. Retrieved on September 25, 2024.
  13. ^ a b "Frederic Jameson", United States census, 1950; Haddon Heights, Camden, New Jersey; page 7, line 6, enumeration district 125. Retrieved on September 25, 2024.
  14. ^ "Obituaries", Barnard Alumnae, 19 (1): 22, 1969
  15. ^ For a brief explanation, see the Column 33 entry in Petro, Diane (2012), "Brother, Can You Spare a Dime? The 1940 Census: Employment and Income", Prologue, 44 (1)
  16. ^ Bellano, Anthony. "Moorestown Friends School Alum Wins Capote Award for Book on Realism; Frederic Jameson won $30,000 for his book The Antinomies of Realism.", Moorestown Patch, November 11, 2014. Accessed May 18, 2020.
  17. ^ "Honors", Haverford College Bulletin, 53 (4): 73, 1955
  18. ^ "Honor Societies", Haverford College Bulletin, 52 (4): 67, 1954
  19. ^ Hardt, Michael; Weeks, Kathi (2000), "Introduction", in Hardt, Michael; Weeks, Kathi (eds.), The Jameson Reader, Oxford: Blackwell, p. 5
  20. ^ The Origins of Sartre's Style, ProQuest 301922980, retrieved September 24, 2024
  21. ^ Office of the Provost, Duke University. "Fredrick Jameson". Retrieved June 3, 2024.
  22. ^ Demers & Jameson 2023, p. 4.
  23. ^ Powell 2006, p. 120.
  24. ^ Fredric Jameson, Duke University, archived from the original on September 14, 2024, retrieved September 24, 2024
  25. ^ "Fredric R. Jameson", American Academy of Arts and Sciences, September 24, 2024, archived from the original on September 25, 2024, retrieved September 25, 2024
  26. ^ Buchanan 2006, p. 29–30.
  27. ^ Buchanan 2006, p. 120.
  28. ^ Fredric Jameson, "Interview with Srinivas Aramudan and Ranjanna Khanna," in Jameson on Jameson: Conversations on Cultural Marxism, ed. Ian Buchanan (Durham, NC: Duke University Press, 2007), p. 204.
  29. ^ Homer, Sean. "A Short History of the MLG". MLG. Archived from the original on March 8, 2012. Retrieved February 9, 2012.
  30. ISBN 978-0-691-01311-4
    . Retrieved October 23, 2020.
  31. ^ "The Political Unconscious by Fredric Jameson | Paperback".
  32. ^ Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell UP, 1982. p. 76
  33. ^ Kristeva, Julia. "Desire in Language: A Semiotic Approach to Literature and Art". Ed. Leon S. Roudiez. Trans. Thomas Gora, Alice Jardine, and Leon S. Roudiez. New York: Columbia UP, 1980. pp. 2, 36.
  34. ^ Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca, NY: Cornell University Press, 1981, p. 10
  35. ^ Leitch 2010, p. 325.
  36. ^ a b c d e f Greif, Mark (2024), "Glimmers of Totality: Fredric Jameson at Ninety", Harper's Magazine, no. 9, archived from the original on August 19, 2024
  37. ^ a b c d Wagner, Kate (September 26, 2024). "The Gifts of Fredric Jameson (1934–2024)". The Nation. Archived from the original on September 26, 2024.
  38. OCLC 948832273
    .
  39. ^ Felluga, Dino."Modules on Jameson: On Late Capitalism."Introductory Guide to Critical Theory. Purdue University. Accessed: September 28, 2024
  40. ^ a b Avilés Espinoza, David Elías (December 20, 2022). "Unpacking late capitalism". University of Sydney. Archived from the original on December 20, 2022.
  41. ^ Jameson, Fredric (1984), "Postmodernism, or The Cultural Logic of Late Capitalism" (PDF), New Left Review, I/146: 53–92.
  42. ^ a b c Kellner, Douglas, "Fredric Jameson", Douglas Kellner (professional site), archived from the original on December 23, 2014, retrieved September 29, 2024
  43. ^ a b "Modules on Jameson: On pastiche"Introductory Guide to Critical Theory. Purdue University. Accessed: September 28, 2024
  44. ISBN 978-1-874166-65-8
  45. ^ Jameson, Fredric (November 21, 2023). "Postmodernism, or The Cultural Logic of Late Capitalism" (PDF). p. 69. Archived (PDF) from the original on April 3, 2023.
  46. ^ Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, Durham, NC: Duke University Press, 1991, p. 47.
  47. ISBN 978-0-252-01108-5, reprinted in The Jameson Reader, ed. Michael Hardt and Kathi Weeks
    , Oxford: Blackwell, 2000, pp. 277–288.
  48. ^ Buchanan 2010, p. 91.
  49. JSTOR 487630
    , reprinted as 'The Vanishing Mediator; or, Max Weber as Storyteller' in Ideologies of Theory, London: Verso, 2008, pp. 309–343.
  50. ^ See Jameson, Fredric (1992), "Totality as Conspiracy", The Geopolitical Aesthetic: Cinema and Space in the World System, Bloomington, IN: Indiana University Press, pp. 9–84, reprinted in Post-war Cinema and Modernity: A Film Reader, ed. John Orr and Olga Taxidou, Edinburgh: Edinburgh University Press 2000, pp. 119–132.
  51. ^ See Jameson, Fredric (2002), A Singular Modernity: Essay on the Ontology of the Present, London: Verso, pp. 12–13
  52. ^ Buchanan 2010, p. 12.
  53. ^ Žižek, Slavoj (2024), "Larger Than Life", Žižek Goads and Prods, archived from the original on September 28, 2024
  54. ^ Danius, Sara (June 17, 2009), "About Fredric R. Jameson", Holbergprisen, Holberg Prize, archived from the original on October 2, 2011.
  55. ^ a b Postmodernism xxii
  56. ^ The Antinomies of Realism 11
  57. ^ A Singular Modernity copyright page
  58. ^ The Modernist Papers x
  59. ^ Archaeologies of the Future 15n8
  60. ^ Clair, Christopher (May 23, 2014), "Fredric Jameson receives Truman Capote Award", Iowa Now, archived from the original on August 3, 2023
  61. OCLC 698450477
  62. ^ The Hegel Variations: On the Phenomenology of Spirit by Fredric Jameson
  63. doi:10.1080/03017605.2013.776223
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  64. ^ Carp, Alex (March 5, 2014), "On Fredric Jameson", Jacobin, archived from the original on June 28, 2022
  65. ^ Ross, Alex (September 22, 2024). "For Fredric Jameson". The Rest is Noise. Retrieved September 22, 2024.
  66. ^ "James Russell Lowell Prize Winners". Modern Language Association.
  67. ^ a b c "Lyman Tower Sargent Award for Distinguished Scholarship". April 6, 2013.
  68. ^ a b Sell, Laura (September 23, 2024). "Farewell to Fredric Jameson".
  69. ^ "Professor Fredric R. Jameson awarded Holberg Prize 2008". Norway.org. September 16, 2008. Retrieved August 4, 2011.
  70. ^ "American cultural theorist awarded the Holberg Prize". Ministry of Foreign Affairs (Norway). Retrieved August 4, 2011.
  71. JSTOR 466367
    .
  72. ^
    ISBN 978-1-84467-535-7
    – via Google Books.
  73. ^ a b c Wang Ning. "The Mapping of Chinese Postmodernity." Postmodernism and China. Ed. Arif Dirlik and Xudong Zhang. Durham: Duke University Press, 2001
  74. ISBN 978-1-84467-535-7. Preview. Previously published, in an earlier version, as Hui, Wang (November–December 2000). "Fire at the castle gate". New Left Review
    . II (6). New Left Review: 69–99.
  75. ^ Tally, Robert (September 3, 2024). "How Fredric Jameson Remade Literary Criticism". Jacobin. Archived from the original on September 3, 2024.
  76. ^ a b c d e f g h i j k l m n Yeghiayan, Eddie. "Books by Fredric Jameson". www.lib.uci.edu. University of California at Irvine Libraries.

Sources

Further reading

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