Fredric Jameson, in The Political Unconscious, opposes the view that literary creation can take place in isolation from its political context. He asserts the priority of the political interpretation of literary texts, claiming it to be at the center of all reading and understanding, not just a supplement or auxiliary to other methods current today. Jameson supports his thesis by looking closely at the nature of interpretation. Our understanding, he says, is colored by the concepts and categories that we inherit from our culture's interpretive tradition and that we use to comprehend what we read. How then can the literature of other ages be understood by readers from a present that is culturally so different from the past? Marxism lies at the foundation of Jameson's answer, because it conceives of history as a single collective narrative that links past and present; Marxist literary criticism reveals the unity of that uninterrupted narrative. Jameson applies his interpretive theory to nineteenth- and twentieth-century texts, including the works of Balzac, Gissing, and Conrad. Throughout, he considers other interpretive approaches to the works he discusses, assessing the importance and limitations of methods as different as Lacanian psychoanalysis, semiotics, dialectical analysis, and allegorical readings. The book as a whole raises directly issues that have been only implicit in Jameson's earlier work, namely the relationship between dialectics and structuralism, and the tension between the German and the French aesthetic traditions. The Political Unconscious is a masterly introduction to both the method and the practice of Marxist criticism. Defining a mode of criticism and applying it successfully to individual works, it bridges the gap between theoretical speculation and textual analysis.

Frederic Jameson is widely regarded as one of the most original and influential Marxist critics of the last decades. His most controversial work, The Political Unconscious, had an enormous impact on literary criticism and cultural studies. In Jameson, Althusser, Marx, first published in 1984, Professor Dowling sets out to provide the intellectual background needed for an understanding of Jameson’s argument and its broader implications. He elucidates the unspoken assumptions that are the foundation of Jameson’s thought – assumptions about how the nature of language, of interpretation and of culture – and shows how Jameson attempts to subsume in an expanded Marxism the critical theories of Derrida, Foucault, Deleuze, Lacan and of structuralism and poststructuralism in general. This lively, concise book will be welcomed by anyone interested in current theoretical debates, in Marxist criticism, and in the wide-ranging implications of Marxist cultural theory for the social sciences, the arts and the study of history.

Representing Capital, Fredric Jameson’s first book-length engagement with Marx’s magnum opus, is a unique work of scholarship that records the progression of Marx’s thought as if it were a musical score. The textual landscape that emerges is the setting for paradoxes and contradictions that struggle toward resolution, giving rise to new antinomies and a new forward movement. These immense segments overlap each other to combine and develop on new levels in the same way that capital itself does, stumbling against obstacles that it overcomes by progressive expansions, which are in themselves so many leaps into the unknown.

Master philosopher and cultural theorist tackles the founder of modern dialectics In this major new study, the philosopher and cultural theorist Fredric Jameson offers a new reading of Hegel’s foundational text Phenomenology of Spirit. In contrast to those who see the Phenomenology as a closed system ending with Absolute Spirit, Jameson’s reading presents an open work in which Hegel has not yet reconstituted himself in terms of a systematic philosophy (Hegelianism) and in which the moments of the dialectic and its levels have not yet been formalized. Hegel’s text executes a dazzling variety of changes on conceptual relationships, in terms with are never allowed to freeze over and become reified in purely philosophical named concepts. The ending, on the aftermath of the French Revolution, is interpreted by Jameson, contra Fukuyama’s “end of history,” as a provisional stalemate between the political and the social, which is here extrapolated to our own time.

Marxism has provided the ideological impetus to liberation movements, radical struggles and revolutions across the world. But in the 20th century, the emancipatory and democratic power of its thought has often been distorted and overridden by various Stalinist dictatorships which claimed to be acting in its name. A similar undermining of freedom of thought has been accomplished at an intellectual level; various schools have transformed Marxist thought in line with some of the most fashionable but gentrified forms of contemporary philosophy, shifting the focus from the democratic power of the masses and their ability to challenge the capitalist order to concentrate on superstar thinkers and elite theories. The War Against Marxism traces the war against Marxism which, paradoxically, has been conducted in the name of Marxism itself. As such it provides a fiery philosophical and polemical indictment of so-called 'Marxists' such as Adorno, Horkheimer, Althusser, Jameson, Eagleton, Mouffe, Laclau and Zizek and asks what can be done to stem this counterrevolution.

Fredric Jameson takes on the allegorical form Works do not have meanings, they soak up meanings: a work is a machine for libidinal investments (including the political kind). It is a process that sorts incommensurabilities and registers contradictions (which is not the same as solving them!) The inevitable and welcome conflict of interpretations - a discursive, ideological struggle - therefore needs to be supplemented by an account of this simultaneous processing of multiple meanings, rather than an abandonment to liberal pluralisms and tolerant (or intolerant) relativisms. This is not a book about "method", but it does propose a dialectic capable of holding together in one breath the heterogeneities that reflect our biological individualities, our submersion in collective history and class struggle, and our alienation to a disembodied new world of information and abstraction. Eschewing the arid secularities of philosophy, Walter Benjamin once recommended the alternative of the rich figurality of an older theology; in that spirit we here return to the antiquated Ptolemaic systems of ancient allegory and its multiple levels (a proposal first sketched out in The Political Unconscious); it is tested against the epic complexities of the overtly allegorical works of Dante, Spenser and the Goethe of Faust II, as well as symphonic form in music, and the structure of the novel, postmodern as well as Third-World: about which a notorious essay on National Allegory is here reprinted with a theoretical commentary; and an allegorical history of emotion is meanwhile rehearsed from its contemporary, geopolitical context.

Louis Althusser has tackled a wide variety of subjects, including philosophy, economics, psychology, aesthetics and political science. This book contains a selection of his writings.

DIVA collection of interviews with Fredric Jameson over a 20 year period./div