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- György Lukács
- Modernism and Imperialism by Fredric Jameson
- Totality and the Dialectic in the Critical Theory of Fredric Jameson
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He was one of the founders of Western Marxism , an interpretive tradition that departed from the Marxist ideological orthodoxy of the Soviet Union. He developed the theory of reification , and contributed to Marxist theory with developments of Karl Marx's theory of class consciousness. He was also a philosopher of Leninism. He ideologically developed and organised Lenin's pragmatic revolutionary practices into the formal philosophy of vanguard-party revolution.
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Modernism and Imperialism by Fredric Jameson
Every generation, it seems, discovers its own Hegel. This proposition has to be understood in three ways. Not only does every generation seems to find its own concerns anticipated in Hegel. Modernity tirelessly reinvents the central motifs of the Hegelian philosophy even in the same breath with which it declares that philosophy to be definitively superseded. And every generation also locates a philosophy who seems to embody the 'cultural logic' of the moment — a characteristic philosophy which is seen to embody the cultural logic of the period. What Hegel might look like in the postmodern, why modernity tirelessly reinvents Hegelianism and how Hegel might be characteristic of the logic and the limits of a certain aspect of modernity would seem to be the contemporary form in which the question of "what is alive and what is dead" is characteristically posed.
On "History and Class Consciousness" as an "Unfinished Project"  Indeed, Fredric Jameson has persuasively argued that "Adorno's life work stands or falls.
Totality and the Dialectic in the Critical Theory of Fredric Jameson
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His current projects include essays on Beethoven's Fidelio , administrative music research, and Nietzsche's gratitude to Wagner, and a longer study of German music on trial. He is the author of Deep Refrains: Music, Philosophy, and the Ineffable University of Chicago Press, and of over a dozen published articles and essays on music and philosophy. As a musician he has worked in a variety of genres from avant-garde composition and experimental improvisation to rock music and West African electronica. BETH M. Motivated by an interest in music's role in the construction and critique of national identity and in the establishment of cultural legitimacy, her current research explores the political uses of Greek myth on the East German operatic stage. His research interests lie in the area of nineteenth- and twentieth-century music and musical thought, focusing especially on sites where musical Romanticism and modernism intersect with philosophical constructions of nature. He has long been engaged in research into the textual and performance histories of Bruckner's symphonies.
A Marx revival seems to be under way, predating the current disarray on Wall Street, even though no clear-cut political options yet seem to propose themselves. The big ideological issues—anarchism, the party, economic planning, social classes—are still mainly avoided, on the grounds that they remind too many people of Communist propaganda. Such a reminder is unwanted, not so much because it is accompanied by the memory of deaths and violence memory is fragile in postmodernity as simply and less dramatically because such topics now appear boring. On the face of it, then, it does not seem plausible to welcome a book which, somewhat in the Althusserian vein of yesteryear, implacably denounces the idealistic deviations and doctrinal errors, the ideological misappropriations and misguided revisions of thinkers widely supposed to have some Marxian pedigree or relevance for younger would-be Marxists today. It is a tireless catalogue of what I will call Marx-avoidance, which for all its unremitting zeal remains oddly non-partisan. Henning does not seem to speak from any easily identifiable political or ideological position, although his philosophical bias would seem to be a kind of Wittgensteinian Kantianism, appropriate enough for this intellectual operation. For one thing, the social philosophy canvassed in its second part is, with the exception of Rawls, exclusively German.
This is a time in which, at least in part owing to what is called post-modernism, there seems to be renewed interest in finding out what modernism really was, and in rethinking that now historical phenomenon in new ways, which are not those we have inherited from the participants and the players, the advocates and the practitioners themselves. But this has also been a time, over perhaps an even longer span of years, in which the matter of what imperialism still is and how it functions has been a subject of intense debate and discussion among the theorists, and not only the economists, the historians and the political scientists. A range of very complex theories and models indeed — probably more incomprehensible than most forms of contemporary literary theory — have come into being which any serious discussion of this issue has to acknowledge. Any discussion of the relationship of modernism and imperialism will therefore generally require, not one, but two lengthy preambles, before it reaches its topic. The hypothesis to be explored here is both more formalistic and more sweeping than the affirmation that imperialism as such produced its specific literature and left palpable traces on the content of other metropolitan literary works of the period.
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