Fredric Jameson

Fredric Jameson (born April 14, 1934) is an American literary critic, philosopher and Marxist political theorist.

He is best known for his analysis of contemporary cultural trends, particularly his analysis of postmodernity and capitalism.

Jameson was born in Cleveland, Ohio, and graduated in 1950 from Moorestown Friends School.

Even though Karl Marx was becoming an important influence in American social science, partly through the influence of the many European intellectuals who had sought refuge from the Second World War in the United States, such as 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.

Jameson's shift toward Marxism was also driven by his increasing political connection with the New Left and pacifist movements, as well as by the Cuban Revolution, which Jameson took as a sign that "Marxism was alive and well as a collective movement and a culturally productive force".

His research focused on critical theory: thinkers of, and influenced by, the Frankfurt School, such as Kenneth Burke, György Lukács, Ernst Bloch, Theodor Adorno, Walter Benjamin, Herbert Marcuse, Louis Althusser, and Sartre, who viewed cultural criticism as an integral feature of Marxist theory.

After graduating in 1954 from Haverford College, where his professors included Wayne Booth, 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 pursue a doctoral degree at Yale University, where he studied under Erich Auerbach.

Auerbach would prove to be a lasting influence on Jameson's thought.

It nevertheless earned Jameson a position at Harvard University, where he taught during the first half of the 1960s.

His interest in Sartre led Jameson to intense study of Marxist literary theory.

This was already apparent in Jameson's 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.

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.

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).

In 1969, Jameson co-founded the Marxist Literary Group with a number of his graduate students at the University of California, San Diego.

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".

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

Jameson marked his full-fledged commitment to 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).

The Political Unconscious takes as its object not the literary text itself, but rather the interpretive frameworks by which it is now constructed.

It emerges as a manifesto for new activity concerning literary narrative.

The book's argument emphasized history as the "ultimate horizon" of literary and cultural analysis.

It borrowed notions from the structuralist tradition and from Raymond Williams's work in cultural studies, and joined them to a largely Marxist view of labor (whether blue-collar or intellectual) as the focal point of analysis.

Jameson's readings exploited both the explicit formal and thematic choices of the writer and the unconscious framework guiding these.

Artistic choices that were ordinarily viewed in purely 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.

(The term "ideologeme" was first used by Mikhail Bakhtin and 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 ...". )

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.

According to Vincent B. Leitch, the publication of The Political Unconscious "rendered Jameson the leading Marxist literary critic in America."

In 1984, during his tenure as Professor of Literature and History of Consciousness at the University of California, Santa Cruz, Jameson published an article titled "Postmodernism, or, the Cultural Logic of Late Capitalism" in the journal New Left Review.

This controversial article, which Jameson later expanded into a book, was part of a series of analyses of postmodernism from the dialectical perspective Jameson had developed in his earlier work on narrative.

Jameson viewed the postmodern "skepticism towards metanarratives" as a "mode of experience" stemming from the conditions of intellectual labor imposed by the late capitalist mode of production.

Jameson's best-known books include Postmodernism, or, The Cultural Logic of Late Capitalism (1991) and The Political Unconscious (1981).

Jameson is the Knut Schmidt-Nielsen Professor of Comparative Literature, Professor of Romance Studies (French), and Director of the Institute for Critical Theory at Duke University.

In 2012, the Modern Language Association gave Jameson its sixth Award for Lifetime Scholarly Achievement.