{"product_id":"105529","title":"Postmodern or late capitalist cultural logic ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtVZOhuLB9VJNPqmZEm0N.png?v=1764959395\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Postmodernism, or the cultural logic of late capitalism \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/108041004\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003ePostmodernism not as a cultural movement,\u003c\/b\u003e \u003cbr\u003eEstablishing a horizon for political thinking\u003cbr\u003e A monumental work by Jameson, the greatest living Marxist theorist.\u003cbr\u003e First translation in 30 years since publication!\u003cbr\u003e\u003cbr\u003e Postmodernism, or the Cultural Logic of Late Capitalism, is an intellectual blockbuster.\u003cbr\u003e […] a timely response to the trend-sensitive left-wing nihilists._Terry Eagleton (literary theorist)\u003cbr\u003e\u003cbr\u003e I don't even remember a time before I read Jameson. —Clint Burnham (critic)\u003cbr\u003e\u003cbr\u003e Fredric Jameson, considered the most important Marxist cultural critic in the English-speaking world today, has translated his monumental work, Postmodernism: The Cultural Logic of Late Capitalism, for the first time in 30 years. \u003cbr\u003eThis book, which includes the eponymous essay, known as “the most cited, discussed, and controversial text of the 1980s,” is considered the most distinctive work on postmodernism.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e This book, which covers a wide range of fields, from philosophy to architecture, art, film, drama, music, science fiction, and experimental art, presents a dazzling analysis and fully displays Jameson's unique writing style, and is still considered a model book referenced by researchers and artists in various fields.\u003cbr\u003e It also played a decisive role in establishing and popularizing the term \"postmodernism\" beyond the realms of art and philosophy as the most essential word to describe popular culture centered on the United States in the late 20th century.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e  \u003ch5\u003e\u003cb\u003eindex\u003c\/b\u003e\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e introduction\u003cbr\u003e Chapter 1: Culture: The Cultural Logic of Post-Capitalism\u003cbr\u003e Chapter 2: Ideology: Postmodern Theories\u003cbr\u003e Chapter 3 Video_Surrealism Without the Unconscious\u003cbr\u003e Chapter 4: Architecture: Spatial Equivalents of the World System\u003cbr\u003e Chapter 5: Reading and Division of Labor\u003cbr\u003e Chapter 6: Space: Utopianism After the End of Utopia\u003cbr\u003e Chapter 7: Theory: Immanence and Nominalism in Postmodern Theoretical Discourse\u003cbr\u003e Chapter 8: Economy: Postmodernism and the Market\u003cbr\u003e Chapter 9: Film: Nostalgia for the Present\u003cbr\u003e Chapter 10 Conclusion_Secondary Processing\u003cbr\u003e Americas\u003cbr\u003e Translator's Note\u003cbr\u003e Search\u003cbr\u003e Illustration\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e If we define the concept of postmodernism very carefully, we can say that it is an attempt to think historically about the present time in an age that has forgotten how to think historically. \u003cbr\u003eIn this case, postmodernism can be said to either 'express' (albeit in a distorted way) a deeper and more irrepressible historical impulse, or it can be said to effectively 'repress' and avoid that impulse, and which side of this ambiguity we choose to take depends on our preferences.\u003cbr\u003e ---From the \"Preface\"\u003cbr\u003e\u003cbr\u003e There once was a thing called parody.\u003cbr\u003e But then a strange new thing called hybrid imitation appeared and slowly took his place.\u003cbr\u003e Like parody, pastiche is an imitation of a unique and distinctive style.\u003cbr\u003e It wears a linguistic mask and speaks in a dead language.\u003cbr\u003e But it is nothing more than a neutral imitation.\u003cbr\u003e It is a simple imitation that lacks even humor, neither a hidden motive like a parody nor a satirical impulse. \u003cbr\u003eSo there is no assurance that there will still be healthy linguistic norms, along with the borrowed, irregular language.\u003cbr\u003e Therefore, hybrid imitation is an empty parody, a mere statue with a vacant look on its face.\u003cbr\u003e --- p.64\u003cbr\u003e\u003cbr\u003e In my view, the most symbolic work that most prominently expresses this new form of reasoning is Nam June Paik's work.\u003cbr\u003e He stacks or scatters television screens among lush plants, or he mounts videos on the ceiling like new and magical stars, making them blink towards the audience.\u003cbr\u003e [… … ] The audience of the postmodern era is asked to do the impossible.\u003cbr\u003e That is, to see at a glance all the screens containing fundamental and random differences. \u003cbr\u003eSuch audiences must follow the evolutionary mutation of David Bowie (who was watching 57 television screens simultaneously) in \"The Man Who Fell to Earth.\"\u003cbr\u003e --- p.88~89\u003cbr\u003e\u003cbr\u003e The building I will be analyzing is the Westin Bonaventure Hotel, a building built in the new downtown area of ​​Los Angeles.\u003cbr\u003e [… … ] Earlier I mentioned the populist aspect of the rhetoric of those who advocate postmodernism against the elitist (and utopian) strictness of great architectural modernism.\u003cbr\u003e The general consensus is that these new buildings are, on the one hand, popular works, and on the other hand, a tribute to the uniqueness of American urban structure. \u003cbr\u003eIn other words, unlike the masterpieces and monumental buildings of authentic modernism, these buildings do not attempt to inject their own heterogeneous and exalted new utopian language into the cheap commercial sign system of the urban landscape that surrounds them.\u003cbr\u003e Rather, they try to speak their own language, using the vocabulary and grammar of an American city, as symbolically expressed in the slogan “Learn from Las Vegas.”\u003cbr\u003e --- p.102~103\u003cbr\u003e\u003cbr\u003e If a new political art is possible, it must focus on the truth of postmodernism.\u003cbr\u003e In other words, we must focus on the global space of multinational capital as its fundamental object.\u003cbr\u003e At the same time, it must devise new, previously unimagined ways to break through reality and recreate this world's space. \u003cbr\u003eThrough this, we can begin to rediscover our own position as individual and collective subjects, and recover the capacity to act and struggle that has been neutralized by our current spatial and social dislocations.\u003cbr\u003e If postmodernism has any political form, its calling will be to create and project a global cognitive map in social and spatial dimensions.\u003cbr\u003e --- p.128\u003cbr\u003e\u003cbr\u003e If temporality still has its place in the postmodern era, it would be more accurate to say that it refers to writing about time rather than the lived experience of it.\u003cbr\u003e [… … ] Writing about time, rewriting time.\u003cbr\u003e For example, J.\u003cbr\u003e Such is the lesson of G. Ballard's unforgettable masterpiece, \"The Voices of Time.\" \u003cbr\u003eIts apocalyptic vision—of a universe frozen like an unwound clock and the imminent end of humanity, slumbering and rushing toward its end—at first seems to resemble either fin-de-siècle Wagnerian modernism or a grand, musical sociobiology.\u003cbr\u003e But what Bellard was really linguistically devoting his heart and soul to was the multilayered seal of the capital letter Time, and that was what his writing was meant to read.\u003cbr\u003e --- p.302~303\u003cbr\u003e\u003cbr\u003e In the first article, he predicted a process of proletarianization on a global scale.\u003cbr\u003e 'Drawing cognitive maps' was in fact nothing less than a code for Korea.\u003cbr\u003e Through it, it suggested the need for a new kind of class consciousness that had never been dreamed of before, and at the same time, it was refracted in the direction of a new spatiality inherent in postmodernism. \u003cbr\u003e[… … ] The rhetorical strategies contained in the preceding discussions are related to an experiment.\u003cbr\u003e That is, it was an attempt to see whether it was possible to bypass it by systematizing the unsystematic and historicizing the ahistorical, or at least to force a historical way of thinking about such matters.\u003cbr\u003e “We have to name the system.” This phrase, one of the most interesting legacies of the 1960s, has found an unexpected revival in the postmodern debate.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.749~750\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eMarxists who jumped into the postmodernist debate\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eIn the early and mid-1980s, as European theories, including deconstructionism and poststructuralism, post-Marxist discourses, and the fierce conservative backlash following the Reagan administration began to colonize American academia, ignoring the progressive achievements of the 1960s and proclaiming the ultimate triumph of capitalism and the end of class politics and ideology, a fierce debate was raging over postmodernism.\u003cbr\u003e What kind of art can be called postmodern art?\u003cbr\u003e Is postmodernism a continuation of modernism or a radical break?\u003cbr\u003e Should we support or criticize postmodernism?\u003cbr\u003e Then, Jameson jumped into this debate in 1984 with an article titled “Postmodernism, or the Cultural Logic of Late Capitalism” in the New Radical Review, bringing about a stronger ripple effect.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eUntil then, it was unimaginable to think of Marxism and postmodernism as linked together.\u003cbr\u003e In essence, “Always historicize!” (Jameson) entered the “slaughterhouse of history” (Douglas Keller) under the banner of historical materialism.\u003cbr\u003e On the one hand, Jameson was the target of intense fire from poststructuralists, and on the other hand, he was treated as a Marxist defector by the left.\u003cbr\u003e After that, he published additional in-depth articles on postmodernism, focusing on interpretation, historicity, space, and utopia, which were compiled into this long-remembered book in 1991.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eBuilding a Horizon for Politically Thinking About Postmodernism\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The title of this book itself reveals Jameson's approach to postmodernism. \u003cbr\u003eWhile other theorists have regarded postmodernism as an artistic style, Jameson views it as a cultural expression of a specific political and historical environment called “late capitalism,” that is, as “the cultural logic of late capitalism.”\u003cbr\u003e The term “late capitalism” is borrowed from the economist Ernest Mandel (who distinguished between classical, monopoly, and late capitalism) and is associated with the idea that the current phase of multinational capitalism, far from contradicting Marx’s 19th-century analysis, represents the purest form of capitalism that has ever existed.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Thanks to this, we can understand postmodernism holistically in relation to the core contradictions of late capitalism. \u003cbr\u003eAs a result of the changes in the way capitalism operates, there have been profound changes in the way everyday life and culture are organized, not to mention the so-called realm of art.\u003cbr\u003e Through Jameson, we realize that the aesthetics of postmodernism's superficiality, expressed as \"depthlessness,\" \"the decline of historicity,\" \"the spatialization of time,\" and \"simulacrum,\" and the theoretical discourse of poststructuralism emphasizing \"textuality\" and \"immanence,\" were in fact part of late capitalism's ideological containment strategy, which blocked the encounter with capitalized History as its ultimate referent.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eDrawing a cognitive map: the current situation\u003cbr\u003e See it as both a catastrophe and progress.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Jameson also exposes the power of reification inherent in the spatial logic of postmodernism, citing the example of the Bonaventure Hotel in Los Angeles, designed by postmodern architect John Portman. \u003cbr\u003eIt is impossible to orient yourself in this self-enclosed building, whose surface is made of huge reflective glass.\u003cbr\u003e Postmodern hyperspace transcends the ability of individual human bodies to locate themselves, organize their surroundings through sensory perception, and map their own location.\u003cbr\u003e So, are we left with no other option than to become schizophrenic subjects who celebrate the eternal continuation of the present in the intense ecstasy of consumer society, or in the play of meaningless differences?\u003cbr\u003e\u003cbr\u003e Following Marx, who urged us to think of the development of capitalism “both positively and negatively,” Jameson calls for a dialectical understanding of the cultural evolution of late capitalism, that is, a grasp of the current situation as “both catastrophe and progress.” \u003cbr\u003eWe must not return to aesthetic practices that were founded on historical circumstances and dilemmas that are no longer of our time.\u003cbr\u003e A political and cultural model appropriate to our situation must focus on the truth contained in postmodernism and the global space of multinational capital.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Jameson argues that we must invent new, previously unimagined ways to break through reality and represent this world's space, and calls for \"cognitive mapping\" as an attempt to politically and aesthetically assess the subject's position within the global network of late capitalism.\u003cbr\u003e This methodology, which would continue to be developed in Jameson's later work, is unrelated to any attempt to precisely map the real conditions of late capitalism, and paradoxically operates solely on the impossibility of a mimetic representation of late capitalism. \u003cbr\u003eIn other words, cognitive mapping is a way of connecting the two spaces of the subject's realm and late capitalism as reality through a fantasy structure, while simultaneously expressing the desire for change in the future, that is, the utopian impulse.\u003cbr\u003e\u003cbr\u003e Meanwhile, in Chapter 10, \"Secondary Processing,\" which synthesizes and expands the discussion so far, Jameson tells an interesting story: \"Cognitive mapping\" was actually a code word for \"class consciousness,\" and through it he attempted to suggest the necessity of a new kind of class consciousness that had never been dreamed of before.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eJameson Revisit\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Now that the term \"postmodernism\" has largely disappeared, after a period of great hype, the publication of this book may feel like a belated visit. \u003cbr\u003eAs the postmodern debate was replaced by theories such as postcolonialism, feminism, and sexuality that included the voices of minorities, and as differences, diversity, hybridity, and identity took over as keywords in humanities papers, the holistic thinking of Jameson's style tended to be taboo for a while.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e However, as the struggles of micropolitics and identity politics, which seemed to guarantee infinite legitimacy, are transformed (and in some cases, conservative) into a “cultural struggle for recognition and tolerance of difference,” while capitalism continues its victorious march, the name “Jameson” is resurfacing. \u003cbr\u003eIn particular, the reflections on the relationship between new social movements and small-group movements and capitalism, and the emphasis on the need for harmony between local and global struggles, confirm the unexpected relevance of this book, which I visited after a detour of 30 years. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePublication date:\u003c\/strong\u003e February 18, 2022\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover book binding method guide\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 814 pages | 1,228g | 152*223*40mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788932039046\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8932039046 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894499835946,"sku":"105529","price":56.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/66153182cfe56c8bd9596fcf51fa8ad3.jpg?v=1765435966","url":"https:\/\/librairie.coreenne.fr\/en\/products\/105529","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}