A Singular Modernity: Essay on the Ontology of the Present (Radical Thinkers)

A major new interpretation of the concepts of modernism and modernity.The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this new intervention, Fredric Jameson—perhaps the most influential and persuasive theorist of postmodernity—excavates and explores these notions in a fresh and illuminating manner. The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive 'modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well. In this major new interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms—which can probably not be banished at this late date—helps us clarify our present political and artistic situations. The Concepts Of Modernity And Modernism Are Amongst The Most Controversial And Vigorously Debated In Contemporary Philosophy And Cultural Theory. In This New, Muscular, Intervention Fredric Jameson -- Erhaps The Most Influential And Persuasive Theorist Of Postmodernity -- Explores These Notions In A Fresh And Illuminating Manner. The Extraordinary Revival Of Discussions Of Modernity, As Well As Of New Theories Of Artistic Modernism, Demands Attention In Its Own Right. It Seems Clear That The Provisional Disappearance Of Alternatives To Capitalism Plays Its Part In The Universal Attempt To Revive 'modernity' As A Social Ideal. Yet The Paradoxes Of The Concept Illustrate Its Legitimate History And Suggest Some Rules For Avoiding Its Misuse As Well. In This Major New Interpretation Of The Problematic, Jameson Concludes That Both Concepts Are Tainted But Nonetheless Yield Clues As To The Nature Of The Phenomena They Purported To Theorize. His Judicious And Vigilant Probing Of Both Terms -- Which Can Probably Not Be Banished At This Late Date -- Helps Us Clarify Our Present Political And Artistic Situations.--back Cover. Preface: Regressions Of The Current Age ---- Part I. The Four Maxims Of Modernity. Transitional Modes ---- Part Ii. Modernism As Ideology ---- Conclusion: 'il Faut Etre Absolument Moderne!' Fredric Jameson. Includes Bibliographical References (p. 217-239) And Index. "The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this new, muscular, intervention Fredric Jameson -- erhaps the most influential and persuasive theorist of postmodernity -- explores these notions in a fresh and illuminating manner. The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the provisional disappearance of alternatives to capitalism plays its part in the universal attempt to revive 'modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well. In this major new interpretation of the problematic, Jameson concludes that both concepts are tainted but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms -- which can probably not be banished at this late date -- helps us clarify our present political and artistic situations." Publisher description In this new interpretation of 'modernity', its relationship to capital and to a social ideal, Jameson explores the concepts in a fresh and illuminating manner, helping to clarify our present political and artistic situations A persuasive theorist of postmodernity presents writings that "sweep majestically from Sophocles to science fiction" (Terry Eagleton).