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“... have become such an accepted fact – not least in the social sciences, from Daniel Bell to Fredric Jameson – that it is easy to forget what a large-scale re-engineering of human lives they have led to. Jennifer Egan, an American writer, is rare for still being able to register incredulity at the weirdness of this process. In her novel Look at Me ...”

“... the world ‘as the visible first and foremost, with all the other senses draining off it’, as Fredric Jameson once put it, a generation of people who live with images, shadows and reflections as intimately – and unhappily – as with their own bodies? Or was it for pragmatic reasons, so as not to make things difficult for the makers of the film? In ...”

“... In his account of late capitalism Fredric Jameson describes its cultural logic as if it were a schizophrenic – broken in language, amnesiac about history, in thrall to glossy images, subject to mood-swings from speedy euphoria to catatonic withdrawal. No wonder that his exemplar is Andy Warhol. ‘Warhol distrusted language,’ Wayne Koestenbaum writes on the first page of his smart biography; ‘he didn’t understand how grammar unfolded episodically in linear time, rather than in one violent atemporal explosion ...”

“... and repermutation.’Such observations, as Fisher acknowledges, have much in common with those of Fredric Jameson in Postmodernism, or the Cultural Logic of Late Capitalism (1991); the great line about the end of the world v. the end of capitalism also comes from Jameson (‘It seems to be easier for us today to ...”

“... describe ways of linking together different echelons of experience – a fuzzy tic inherited from Fredric Jameson. And there’s a gratuitous reference to Derridean différance in her discussion of the changing power relations between coloniser and colonised, when ‘difference’ would have been sufficient. Nevertheless, Hall’s excellent book is ...”

“... sentence appears to place the narrative and its imagery and intent squarely in the line of what Fredric Jameson once called ‘national allegory’. ‘National’, here, doesn’t refer to a country demarcated by borders: it denotes the political and the postcolonial, since if the West is disreputably ‘universal’, the non-West is, or at least ...”

“... but also linked to other Yale critics, notably Harold Bloom, Peter Brooks, Geoffrey Hartman and Fredric Jameson. In the decades since then, Miller’s work has continued to evolve, often along paths marked out by Derrida. (Derrida moved from Yale to Irvine in California when Miller moved there in the mid-1980s.) In such books as The Ethics of Reading ...”

“... an honest cop, sometimes brutish but never cruel. This is, of course, a conceit of the genre. As Fredric Jameson observed in his classic essay on Chandler, ‘the honesty of the detective can be understood as an organ of perception, a membrane which, irritated, serves to indicate in its sensitivity the nature of the world around it.’ Yet this ...”

“... table. But you can imagine another Marxist criticism glimpsing here some version of the truth that Fredric Jameson said was essentially impossible to convey in the novel: ‘Never has the world been so completely humanised as in industrial times; never has so much of the individual’s environment been the result, not of blind natural forces, but of human ...”

“... desperate leap into the utopian unknown (Lenin proposing a communist seizure of the postal system, Fredric Jameson imagining a communist takeover of Walmart), might help. At any rate, it couldn’t ...”

“... of modernity and folk tradition. What came after was always going to be a ‘blank parody’, as Fredric Jameson would have it. Nobody in Steps, to my knowledge, played the accordion. ‘Is there no one who can come up with any new stuff, who can do something corresponding to what we did back then?’ Benny wondered in 2000. ‘Something isn’t quite ...”

“... I contrive/to turn and gaze on that dread pass once more/whence no man yet came ever out alive.’ Fredric Jameson once observed that Godard began in the Sixties as a ‘postmodernist avant la lettre’ but ended up, two decades later, as ‘the ultimate survivor of the modern as such’, always swimming against the current. The futurist visionary turned ...”

“... to whom Acker became at all close were the Language Poets, celebrated, though also criticised, by Fredric Jameson – she contributed to their journal L=A=N=G=U=A=G=E and both collaborated with and borrowed from the leading woman exponent of the school, Carla Harryman. In England, she made contact with Michael Horovitz, advocate both for avant-garde ...”

“... and specialist scholarly journals. And the same can be said of those other contributors – Fredric Jameson and Michel de Certeau among them – who apply various forms of rhetorical or narrative theory to the business of decoding the modalities of lived experience. This anthology is a motley assortment in many ways, but it does make sense of ...”

“... Philosophers are understandably aggrieved when literary critics presume to instruct them in the finer points of textual interpretation. Particularly irksome is the claim of conceptual rhetoricians like Paul de Man that philosophy has not yet caught up with ‘elementary refinements’ that criticism has long since taken for granted. Deconstruction goes furthest towards contesting the status of philosophy by showing how its concepts finally come down to the ‘unmasterable’ play of linguistic figuration ...”