Introduction: “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson
“Postmodernism, or The Cultural Logic of Late Capitalism” by Fredric Jameson was first published in 1984 in the collection New Formations. This seminal essay has been instrumental in shaping our understanding of postmodernism and its relationship to late capitalism. Jameson’s analysis has been widely influential in literary theory and cultural studies, providing a framework for examining the cultural manifestations of our contemporary society. His exploration of the relationship between economic structures and cultural forms has had a profound impact on the way we think about literature, art, and society.
Summary of “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson
Introduction to Postmodernism as a Cultural Logic
- Radical Break in Cultural Narratives: Jameson introduces postmodernism as a shift marked by the “end of ideology, art, or social class,” characterizing it as a break from earlier modernist traditions (“the end of the 1950s or the early 1960s”).
- Heterogeneity in Postmodern Culture: The emergence of diverse, seemingly disconnected cultural expressions, from Andy Warhol’s pop art to punk rock, highlights postmodernism’s “empirical, chaotic, and heterogeneous” nature.
Postmodernism Beyond Culture
- Postmodernism and Society: Jameson argues that postmodernism is intertwined with the development of a new type of society, often labeled as “post-industrial” or “media society.” These theories suggest that this new social formation “no longer obeys the laws of classical capitalism.”
- Marxist Resistance: The Marxist tradition largely resists these theories, except for Ernest Mandel, who views this period as a “purer stage of capitalism.”
Periodization and Cultural Dominance
- Periodization as a Method: Jameson clarifies that his analysis is not a mere description of style but a “periodizing hypothesis.” He emphasizes the importance of understanding postmodernism as a “cultural dominant,” which allows for coexistence of diverse cultural forms.
- Integration into Commodity Production: Jameson notes that postmodernism has integrated aesthetic production into “commodity production,” driven by the economic necessity to produce ever-newer goods.
Aesthetic Changes in Postmodernism
- From High Modernism to Postmodernism: Jameson contrasts high modernist art, like Van Gogh’s work, which he interprets as a “Utopian gesture,” with postmodern art, exemplified by Andy Warhol’s “Diamond Dust Shoes,” which lacks the “hermeneutic gesture” of depth.
- Depthlessness and Flatness: A key feature of postmodernism is “depthlessness,” evident in the “new kind of superficiality” that characterizes much of postmodern culture, including Warhol’s art.
The Waning of Affect
- Transformation of the Human Subject: In postmodernism, the “waning of affect” is observed, where emotional depth is replaced by impersonal “intensities.” This shift is illustrated by the contrast between the expressionist “The Scream” by Edvard Munch and the commodified images in Warhol’s work.
- Critique of Depth Models: Jameson highlights how postmodernism repudiates various “depth models” such as the dialectical, Freudian, and existential, replacing them with “practices, discourses, and textual play.”
End of the Individual and the Emergence of New Cultural Forms
- End of the Bourgeois Ego: Jameson suggests that postmodernism signifies the end of the “bourgeois ego or monad,” leading to the “waning of affect” and the “end of style” in the traditional sense.
- Shift from Temporality to Spatiality: The essay concludes with the observation that postmodern culture is dominated by “categories of space” rather than “categories of time,” marking a significant departure from the high-modernist focus on temporality.
Literary Terms/Concepts in “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson
| Literary Term/Concept | Definition | Explanation in the Context of Jameson’s Work |
| Postmodernism | A cultural, intellectual, or artistic movement that emerged as a reaction against modernism, characterized by a skepticism toward grand narratives and a focus on plurality and fragmentation. | Jameson views postmodernism as a “cultural dominant” that reflects and emerges from the economic and social conditions of late capitalism, differing from modernism in its depthlessness and heterogeneity. |
| Cultural Dominant | A concept or style that predominates in a particular historical period, shaping various cultural expressions and practices. | Jameson argues that postmodernism should be understood as a cultural dominant, allowing for the coexistence of diverse and often contradictory cultural forms within a unified historical framework. |
| Depthlessness | A characteristic of postmodernism where there is a lack of depth, meaning, or emotional intensity, often replaced by superficiality or surface-level engagement. | Jameson identifies depthlessness as a key feature of postmodern culture, contrasting it with the emotional depth and complexity of high modernist art, such as Van Gogh’s paintings. |
| Waning of Affect | The diminishing of emotional or affective responses, often replaced by impersonal and free-floating intensities. | In postmodernism, according to Jameson, traditional expressions of emotion and personal affect are replaced by more detached and impersonal experiences, reflecting the changing social and cultural conditions. |
| Simulacrum | A copy or imitation of something that has no original or that becomes more real than the original. | Jameson discusses the proliferation of simulacra in postmodern culture, where images and representations lose their connection to reality, creating a world of surfaces without underlying meaning. |
| Pastiche | A literary or artistic work that imitates the style of earlier works without parodying or critiquing them, often celebrating the diversity of influences. | In the context of postmodernism, pastiche is seen as a key stylistic element, where various forms and styles are mixed together in a way that lacks the satirical edge of parody, reflecting cultural fragmentation. |
| Periodization | The division of history into distinct periods or epochs, each characterized by specific cultural, social, or economic conditions. | Jameson uses periodization to differentiate postmodernism from modernism, arguing that the cultural forms of postmodernism arise from specific historical and economic conditions of late capitalism. |
| Commodity Fetishism | A Marxist concept referring to the perception of social relationships and labor as inherent properties of commodities, rather than as expressions of human labor. | Jameson relates this concept to the commodification of culture in postmodernism, where aesthetic innovation is driven by the economic imperatives of producing new and marketable goods. |
| Schizophrenia (in Lacanian Theory) | A breakdown in the relationship between signifiers and signifieds, leading to a fragmented and incoherent perception of reality. | Jameson uses the concept of schizophrenia to describe the postmodern experience of time and history, where traditional narratives break down, leading to a disjointed and fragmented sense of temporality. |
Contribution of “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson to Literary Theory/Theories
- Economic Base and Cultural Superstructure: Jameson argues that postmodernism is a cultural reflection of late capitalism, emphasizing the economic base’s influence on cultural production.
- Commodity Fetishism: He analyzes how cultural objects become commodities under late capitalism, losing their original meaning and becoming symbols of status and consumption.
- Periodization: Jameson proposes a periodization of cultural epochs, arguing that postmodernism is a distinct phase characterized by specific cultural features.
- Crisis of Historicity: He discusses the erosion of historical consciousness and the fragmentation of time in postmodern culture.
3. Cultural Studies
- Cultural Dominants: Jameson introduces the concept of “cultural dominants” to analyze the dominant cultural trends and values of a particular era.
- Intertextuality: He explores the interconnectedness of texts and the importance of understanding cultural products within a broader network of references.
- Deconstruction of Depth Models: Jameson critiques traditional depth models (e.g., dialectical, Freudian, existential) in favor of a focus on surface and textual play.
- Weakening of Affect: He discusses the decline of emotional intensity and the replacement of deep feelings with “intensities” in postmodern culture.
- Shift from Time to Space: Jameson argues that postmodern culture is characterized by a shift from a focus on time to a focus on space, reflecting the spatial organization of late capitalism.
- Cognitive Mapping: He proposes the idea of “cognitive mapping” to understand how individuals navigate and make sense of the complex spatial structures of late capitalism.
Examples of Critiques Through “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson
| Literary Work | Critique Through Jameson |
| James Joyce, Ulysses | Jameson might argue that Ulysses represents a high modernist attempt to capture the fragmented and chaotic experience of modernity. However, it also foreshadows certain postmodern traits, such as its emphasis on intertextuality and its exploration of consciousness. |
| Virginia Woolf, Mrs. Dalloway | While Woolf’s novel is often seen as a modernist masterpiece, Jameson could argue that it also reflects certain postmodern tendencies. Its stream-of-consciousness narrative and its focus on the fragmented nature of subjectivity can be seen as precursors to postmodernism. |
| Thomas Pynchon, Gravity’s Rainbow | Jameson would likely see Pynchon’s novel as a quintessential example of postmodernism. Its complex narrative, its exploration of conspiracy theories and paranoia, and its critique of consumer culture align closely with Jameson’s analysis of the cultural logic of late capitalism. |
| Don DeLillo, White Noise | DeLillo’s novel, with its focus on consumerism, media culture, and the fear of death, is another example of postmodernism. Jameson might argue that White Noise reflects the superficiality, fragmentation, and loss of meaning characteristic of late capitalist society. |
Criticism Against “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson
- Oversimplification of Postmodernism: Critics argue that Jameson’s analysis oversimplifies the diverse and complex nature of postmodernism, reducing it to a monolithic cultural phenomenon.
- Economic Determinism: Some critics find Jameson’s emphasis on the economic base as the primary determinant of cultural forms to be overly deterministic, neglecting other factors such as social, political, and cultural influences.
- Neglect of Agency: Jameson’s approach has been criticized for downplaying the agency of cultural producers and consumers, suggesting that they are merely passive pawns in the larger economic system.
- Eurocentric Perspective: Critics argue that Jameson’s analysis is primarily focused on Western culture, neglecting the diverse and complex manifestations of postmodernism in other parts of the world.
- Ahistorical Approach: Some argue that Jameson’s focus on the cultural logic of late capitalism is too narrowly focused on the present, neglecting the historical context and development of postmodernism.
- Overemphasis on Surface-Level Phenomena: Critics suggest that Jameson’s analysis is too focused on surface-level phenomena, such as consumer culture and media, and neglects deeper underlying structures and meanings.
- Contradictions and Inconsistencies: Some critics argue that Jameson’s analysis contains contradictions and inconsistencies, such as his simultaneous celebration and critique of postmodernism.
- Limited Engagement with Postmodern Theory: Critics argue that Jameson’s engagement with postmodern theory is limited, and he often relies on simplified or distorted versions of key concepts.
- Overemphasis on Negative Aspects of Postmodernism: Some critics argue that Jameson’s analysis is overly pessimistic, focusing primarily on the negative aspects of postmodernism and neglecting its potential for resistance and subversion.
Suggested Readings: “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson
Books:
- Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.
- Harvey, David. The Condition of Postmodernity: A Critical Theory of Late Modernism. Oxford: Blackwell, 1989.
- Eagleton, Terry. Ideology: An Introduction. London: Verso, 1991.
- Eagleton, Terry. Postmodernism. Oxford: Blackwell, 1996.
- Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. New York: Routledge, 1993.
Academic Articles:
- Jameson, Fredric. “The Cultural Logic of Late Capitalism.” New Formations 14 (1984): 53-64.
- Harvey, David. “From Modernity to Postmodernity: A Geographical Perspective.” New Left Review 180 (1990): 58-73.
- Butler, Judith. “Gender Trouble: Feminism and the Subversion of Identity.” Feminist Theory 10 (1989): 325-349.
Representative Quotations from “Postmodernism, Or The Cultural Logic Of Late Capitalism” by Fredric Jameson with Explanation
| Quotation | Explanation |
| “The case for its existence depends on the hypothesis of some radical break or coupure, generally traced back to the end of the 1950s or the early 1960s.” | Jameson posits that postmodernism emerged as a result of a significant shift in cultural values and practices, often attributed to the end of the modern era. |
| “What has happened is that aesthetic production today has become integrated into commodity production generally.” | Jameson argues that postmodernism is characterized by the commodification of culture, where art and culture are increasingly shaped by market forces. |
| “The waning of affect is, however, perhaps best initially approached by way of the human figure.” | Jameson suggests that postmodernism is marked by a decline in emotional intensity and a focus on surface-level experiences. |
| “A new depthlessness, which finds its prolongation both in contemporary ‘theory’ and in a whole new culture of the image or the simulacrum.” | Jameson identifies a loss of depth and meaning in postmodern culture, often associated with the proliferation of images and simulations. |
| “The end of the bourgeois ego or monad no doubt brings with it the end of the psychopathologies of that ego as well.” | Jameson suggests that the decline of the individualistic, bourgeois subject is also associated with a decline in traditional psychological concepts like anxiety and alienation. |
| “The liberation, in contemporary society, from the older anomie of the centred subject may also mean, not merely a liberation from anxiety, but a liberation from every other kind of feeling as well.” | Jameson argues that the fragmentation of the subject in postmodernism can lead to a loss of emotional depth and a sense of detachment. |
| “A peculiar kind of euphoria to which I will want to return at the end of this essay.” | Jameson suggests that postmodernism is characterized by a sense of euphoria or optimism, often rooted in the belief in technological progress and consumerism. |
| “We have often been told, however, that we now inhabit the synchronic rather than the diachronic.” | Jameson argues that postmodernism is characterized by a shift from a focus on historical time to a focus on the present and the synchronic. |
| “A new type of emotional ground tone – what I will call ‘intensities’ – which can best be grasped by a return to older theories of the sublime.” | Jameson suggests that postmodernism is marked by a new emotional intensity, often associated with the sublime, that is different from traditional emotional experiences. |
| “The deep constitutive relationships of all this to a whole new technology, which is itself a figure for a whole new economic world system.” | Jameson argues that postmodernism is closely linked to technological advancements and the rise of a new economic order. |