Professional Documents
Culture Documents
ADM
Burns 21 January 1994
Jameson Response
Note and describe three different moments where Jameson defines the postmodern.
Jameson uses the term “postmodernisms” (54) to describe the many ways of looking at this post
modern cultural phenomenon. The one element these postmodernisms have in common,
according to Jameson, is “the effacement in them of the older (essentially highmodernist)
frontier between high culture and socalled mass or commercial culture, and the emergence of
new kinds of texts infused with the forms, categories, and contents of that very Culture Industry
so passionately denounced by all the ideologues of the modern...” This is an excellent
observation, since it describes the state of flux Culture is currently in. Many critics believe
postmodernism is merely a reaction to or transition from high modernism. “Effacement” of
cultural snobbery is a good starting point for the postmodern enterprise.
Jameson soon goes on to boil down this effacement (and perspectives on this effacement) into a
ideological gesture, positing that “every position on postmodernism in culture — whether
apologia or stigmatization — is also at one and the same time, and necessarily, an implicitly or
explicitly political stance on the nature of multinational capital today” (55). This is to say that
any attempt to define postmodernism is in itself a political move to define multinational capital.
From this, the reader learns the very close connection between postmodernism and
multinational capitalism. Indeed, Jameson conflates culture with capital when he writes that
“aesthetic production today has become integrated into commodity production generally” (57).
(In anticipation of the third question, I should also say that commodification is also clearly
linked to a politicizing of culture, and the sneaky movement of politics into an aesthetic realm).
Another attribute Jameson associates with all the postmodernisms is “a new kind of flatness of
depthlessness, an new kind of superficiality in the most literal sense” (60). Flatness is, he says,
perhaps “the supreme formal feature” of postmodernism. Postmodernisms, therefore, are im
agebased, image conscious cultural dominants. To paraphrase Jameson (60), it is no longer a
question of content, but of image.
How does the City fit into these definitions? Technology?
Jameson suggests that technology, too, is flat. Many of the latest machines are “machines of re
production rather than of production” (79). They manufacture duplicates of other products,
they engage in a process of infinite copying. Inasmuch is this is related to an impersonal com
modification of everything, Jameson sees technology as an expression of multinational capital
ism. Technology, he writes, is in pole position to capture great amounts of power and capital,
viz. the decentred global network of the third stage of capital.
Jameson’s notion of cities is closely related to his discussion of architecture. He chooses the
Bonaventura as his symbol of postmodern approaches to the city. The hotel’s glass skin repels
the city, and “achieves a peculiar and placeless dissociation of the Bonaventura from its
neighborhood” (82). People inside the building lose their sense of location — they are unable to
map — as if drifting on a raft or trudging through a desert. Paradoxically, the Bonaventura is of
the city. It is a landmark, and in a way, a community center, but it removes people from the
community as soon as they enter it. In the Bonaventura, people avoid their real life and pursue
the hyperreal in hyperspace.
What are the political implications of the advent of postmodernism, according to Jameson?
The earliest political implications Jameson hints are included in his discussion of the effacement
of history. If one is able to so effectively rewrite and reevaluate history (as Doctorow does), it is
conceivable, almost predictable, that political leaders might attempt the same. The prospect of
historical revisionism, no longer the exclusive domain of novelists, is a disturbing one.