By Fredric Jameson
The innovations of modernity and modernism are among the main arguable and vigorously debated in modern philosophy and cultural conception. during this intervention, Fredric Jameson--perhaps the main influential and persuasive theorist of postmodernity--excavates and explores those notions in a clean and illuminating manner.
The outstanding revival of discussions of modernity, in addition to of recent theories of creative modernism, calls for consciousness in its personal correct. it sort of feels transparent that the (provisional) disappearance of choices to capitalism performs its half within the common try and revive ‘modernity’ as a social perfect. but the paradoxes of the concept that illustrate its valid heritage and recommend a few ideas for warding off its misuse as well.
In this significant interpretation of the difficult, Jameson concludes that either options are tainted, yet still yield clues as to the character of the phenomena they imagined to theorize. His really apt and vigilant probing of either terms--which can most likely no longer be banished at this overdue date--helps us make clear our current political and inventive situations.
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Additional resources for A Singular Modernity: Essay on the Ontology of the Present
The choice is not between the abstract diction of Pope and the concreteness espoused by Pound. Poetry (because it is language) can never be reduced to a proposition, nor can poetry (because it is language) ever escape the fate of words. Robert Creeley writes: . . 84 Here is a paradox: a poet who wants to be anywhere outside the confines of the poem. He hates the fuss with words. For such a poet every word is a problem because it is the opposite of a sensory particular. The most pressing task of the poet becomes the effort to write lines in which word and object can coincide.
BI, pp. 24-25) He lays all this out in this 1966 essay on the inability of American critics to appreciate intentionality: The partial failure of American formalism, which has not produced works of great magnitude, is due to its lack of awareness of the intentional structure of literary form. (BI, p. 27) What critics and poets claim about the uses to which they put poetic imagery obscures and represses intentionality: The image is inspired by a nostalgia for the natural object, expanding to become nostalgia for the origin of this object.
The New Humanism Babbitt promoted needed to base itself, he thought, on something more solid than the subjectivist thought of Rousseau. Babbitt's New Humanism rejected all the residues of the revolutionary impulse. Eliot simply traced out the consequences of such PAUL DE MAN: LIFE AND WORKS D xliii a move when he declared himself a royalist and a classicist and became a High Church Anglican. The young Robert Lowell got the point and converted to Catholicism. Delmore Schwartz may have come to realize that the club was intended to exclude him.
A Singular Modernity: Essay on the Ontology of the Present by Fredric Jameson