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The Cultural Turn, by Fredric Jameson
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Review
“In a brief compass, The Cultural Turn traces the movement of one of the leading cultural intelligences of our time, in pursuit of mutable forms of the postmodern world. The results will leave few indifferent.”—Perry Anderson
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About the Author
Fredric Jameson is Distinguished Professor of Comparative Literature at Duke University. The author of numerous books, he has over the last three decades developed a richly nuanced vision of Western culture’s relation to political economy. He was a recipient of the 2008 Holberg International Memorial Prize. He is the author of many books, including Postmodernism, Or, The Cultural Logic of Late Capitalism, The Cultural Turn, A Singular Modernity, The Modernist Papers, Archaeologies of the Future, Brecht and Method, Ideologies of Theory, Valences of the Dialectic, The Hegel Variations and Representing Capital.
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Product details
Paperback: 224 pages
Publisher: Verso; Third Printing edition (June 17, 1998)
Language: English
ISBN-10: 1859841821
ISBN-13: 978-1859841822
Product Dimensions:
5.8 x 0.8 x 8.5 inches
Shipping Weight: 10.9 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#1,838,342 in Books (See Top 100 in Books)
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By no means an exhaustive reader of Jameson or of postmodern theory more generally, I found this collection of essays to be a useful, often illuminating, distillation of recent theoretical work on the relationship between art, consumerism, and temporality. The book is a fine supplement, if not sequel, to Jameson's magisterial *Postmodernism, or, The Cultural Logic of Late Capitalism*. But the essays presented here also stand on their own as discrete exempla of a properly dialectical, which is to say historically and materially grounded, account of postmodernism.Far from being a free-floating notion of relativistic difference, Jameson argues that postmodernism is a specifically constituted ideology and aesthetic that derives from tendencies in post-World War II U.S. consumer culture. Chapters 1-4 (out of 8) are brilliant analytical unfoldings of this essential argument; included here are the classic, and might I add lucidly written, essays "Postmodernism and Consumer Society" and "Marxism and Postmodernism."Chapters 5-8, representing Jameson's more recent forays into postmodern theory, are less satisfying but remain theoretically relevant. Chapter 5 doesn't really arrive at its object of analysis: the relationship between "end of art" and "end of history" discourses at the end of the Cold War. Chapter 6, on the image-form in contemporary cinema, lacks a certain rigor in approaching filmic texts, and its judgment on conceptions of beauty (whose appeal in today's independent cinema, it seems to me, doesn't necessarily entail the fetishization of individualistic sentimentality) is suspect. Still, and as another reviewer has noted, the ending of Chapter 8, "The Brick and the Balloon," is deeply illuminating with its call for a reconsideration of nostalgia in view of the ungrounding of history by consumer culture.In sum, the collection as a whole offers what I think are essential readings in postmodern theory. These are not always the "easiest" pieces to read, but the very claim to easiness would seem to be one of the things Jameson is striking out against in his critique of consumer society. In any case, I found a majority of these essays to be accessible and well-written, although (and this is a crucial distinction) conceptually difficult. If you're willing to follow Jameson's train of thought, whether you agree, disagree, or otherwise -- that is, if you're willing simply to follow the implicit logic and its attendant textual readings, I suspect you will not mind making your way through the prose.
I picked this one up because I thought it would be a nice relaxing series of short essays for a cross country plane trip. I was a bit disappointed. Its essays are of uneven quality, the first and last two being the best, and in order to get the little nuggets of pithy critical theory goodness out of muddled mass that is the rest of this book one has to do a bit of searching. In fact Cultural Turn was almost completely unmemorable, except for the interesting bit on architecture and spectrality in "Brick and the Balloon" (The last essay) and a few of the remarks on the myth of scarcity in the "Second World City" that are to be found in one of the first two pieces. Jameson's writing in Cultural Turn seemed crippled by a greater than usual density of language and jargon, unlike in Political Unconsious, which make several of these pieces tough on either the casual reader (like myself), or the reader who is not versed in Jameson's ideas or specific field of Marxist aesthetic critique. A good addition to other writings by Jameson and on various subjects, but not a pleasant escape or introduction.
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