By Fredric Jameson
The recommendations of modernity and modernism are among the main arguable and vigorously debated in modern philosophy and cultural concept. 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 amazing revival of discussions of modernity, in addition to of latest theories of creative modernism, calls for recognition 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 background and recommend a few ideas for fending off its misuse as well.
In this significant interpretation of the troublesome, 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 now not be banished at this overdue date--helps us make clear our current political and creative situations.
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Translated by way of Ralph Mannheim
from the book's cover:
The worry haunting the anonymous author in
Peter Handke’s new novel is the phobia of los-
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This deceptively uncomplicated, but hugely tough and unique novella reaffirms Handke's preeminence at the overseas literary scene. One December afternoon in an unidentified German urban, the anonymous narrator, a author, takes a stroll and displays at the perilous presumption of his vocation and his terror on the tenuousness of his touch with concept. each one notice is a lifeline, conjuring up the realm and magically reformulating it. yet whilst, the author and his textual content pressure on the limits of language and knowing. Believing that the author is dispossessed in 20th-century tradition, the narrator is thrown again upon himself to confront the nullity of his discourse; his younger religion in his calling has collapsed into disenchantment and worry that via chickening out from society to write down, he has de-legitimized his voice. but the narrator concludes with the confirmation to "continue to paintings the main ephemeral of fabrics, my breath," with out relief or concealment of literature's drained props, hence reassuring Handke's admirers that the writer will proceed to tax and thrill them together with his Mallarmean opacities.
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Extra resources for A Singular Modernity: Essay on the Ontology of the Present
The elements are now reversed. It is no longer the end of time and of the world which will show retrospectively that men were mad not to have been prepared for them; it is the tide of madness, its secret invasion, that shows that the world is near its final catastrophe; it is man's insanity that invokes and makes necessary the world's end. In its various forms—plastic or literary—this experience of madness seems extremely coherent. Painting and text constantly refer to one another—commentary here and illustration there.
He inherits the old Philautia of Erasmus. Poor, he is rich; ugly, he admires himself; with chains still on his feet, he takes himself for God. 9 Such is the ridiculous fate of the seven characters of Desmarets de Saint-Sorlin's Les Vision(29) naires, of Chateaufort in Cyrano de Bergerac's Le Pedant joue, of M. de Richesource in Sir Politik. Measureless madness, which has as many faces as the world has characters, ambitions, and necessary illusions. Even in its extremities, this is the least extreme of madnesses; it is, in the heart of every man, the imaginary relation he maintains with himself.
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A Singular Modernity: Essay on the Ontology of the Present by Fredric Jameson