By Fredric Jameson
The techniques of modernity and modernism are among the main debatable 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 awesome revival of discussions of modernity, in addition to of latest theories of inventive 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 to revive ‘modernity’ as a social perfect. but the paradoxes of the concept that illustrate its valid heritage and recommend a few ideas for heading off its misuse as well.
In this significant interpretation of the problematical, Jameson concludes that either strategies 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 inventive situations.
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Extra info for A Singular Modernity: Essay on the Ontology of the Present
Claims of legitimacy to torture and censor are, in turn, always validated through the semantic field of the official state discourse. The first field of state discourse, is of course, designed to reinforce the legitimacy of this state apparatus and to fundamentally reify the relations of power. The nueva escena’s work neither acceded to nor confronted this enforced legitimation, but rather engaged a liminal sphere, seeking a way of reading and engaging with the scene of Chilean representation that would fracture the totalizing content of the Chilean regime of signs.
AMADOR the spaces of speaking and public signification. avanzada’s emergence would focus on the remains left by Pinochet’s destruction: Lo cultural, bruscamente cortado de sus fuerzas de correlación social, se sumerge en la tarea de juntar los pedazos de una totalidad rota realizando manifestaciones que se coordinan a través de talleres, agrupaciones, etc. (Richard 125) The cultural, brusquely cut from its forces of social correlation, becomes submerged in the task of joining together pieces of a broken totality by realizing happenings coordinated in workshops, art groups, etc.
For having proposed to reformulate the link between art and politics beyond mechanical correspondence or illustrative dependency, beyond discursive subordination to the category of ideology: but in a way that simultaneously insists and overrides the privilege of aesthetics as a sphere ideally detached from the social (and its oppression frame) or exempted from responsibility for a critique of the effects of dominance. “El movimiento” that Richard talks about opened a space in Chilean arts and letters that had been foreclosed by the brutal repression of the regime and the politics and exposed to a cultural limit-situation that, according to Richard, was a “una plena zona donde ha naufragado el sentido, debido no solo al fracaso de un proyecto histórico [the Allende Unidad Popular 13 Residuos and Metaforas 188 (2006).