Fredric Jameson, "Representing 'Capital'" (Book Note)

Fredric Jameson’s Representing 'Capital': A Commentary on Volume One provides a deep and insightful engagement with Karl Marx’s Capital, Volume One, offering both a critical examination of its content and an exploration of the broader implications of Marx’s work for contemporary thought. Jameson, a leading Marxist literary theorist, brings his considerable intellectual force to bear on Marx’s economic theory, focusing on the ways in which Marx’s analysis of capitalism can be understood as both a historical narrative and a foundational theoretical framework for understanding modernity. Throughout the text, Jameson deftly moves between the particulars of Marx’s analysis and the larger philosophical and historical questions it raises.

One of the central themes of Jameson’s commentary is the notion of representation, which he uses as a lens through which to understand the various levels of Marx’s Capital. For Jameson, representation is not just about how capitalism is described or depicted; it is a fundamental issue in the way capitalism operates. In Marx’s text, capital is both a material process and an abstract concept, and Jameson is keen to explore how these dual aspects are represented within the narrative of Capital. In doing so, he reveals how Marx’s analysis of commodities, labor, and capital accumulation functions not only as an economic critique but also as a reflection on the ways in which capitalism shapes our understanding of the world.

Jameson approaches Capital as a kind of narrative, suggesting that Marx’s account of capitalism is itself a story—one that unfolds over time and space, with characters (the capitalist and the worker) and a plot (the accumulation of capital). This narrative quality of Capital is crucial for Jameson, as it allows him to explore the ways in which Marx’s work intersects with literary and cultural forms. For Jameson, Marx’s description of the capitalist mode of production is not just a dry economic theory; it is a dramatic story of exploitation, alienation, and struggle. By emphasizing the narrative dimension of Capital, Jameson connects Marx’s critique of political economy with the broader cultural critique that underpins his own work.

At the heart of Jameson’s reading of Capital is the concept of abstraction. He argues that Marx’s theory of value is fundamentally about the abstraction of labor—how the concrete labor performed by individuals is transformed into abstract labor, which in turn becomes the basis for the value of commodities. This abstraction is central to the functioning of capitalism, as it allows for the exchange of commodities on the market. For Jameson, this process of abstraction is not just an economic mechanism; it is a form of alienation that permeates all aspects of life under capitalism. The worker is alienated from the product of their labor, from the process of labor itself, and ultimately from their own humanity. Jameson extends this idea to suggest that abstraction is a key feature of modernity more broadly, as it structures not only economic relations but also social and cultural life.

Jameson also focuses on the concept of reification, which refers to the way in which social relations under capitalism are turned into things—commodities that can be bought and sold. In Marx’s analysis, the commodity is the basic unit of capitalism, and its fetishism—where commodities appear to have a life of their own, independent of the labor that produced them—is a crucial aspect of capitalist ideology. Jameson takes this idea further, suggesting that reification extends beyond the economic realm and into the realm of culture and politics. Under capitalism, everything becomes a commodity, from art to politics to human relationships. This commodification of life is, for Jameson, one of the defining features of modernity, and he uses Marx’s analysis to explore how it shapes our understanding of the world.

In his commentary, Jameson is particularly interested in the temporal dimension of Marx’s analysis. He argues that Capital is not just a static description of the capitalist system; it is also a historical account of its development. Marx’s theory of history—his notion of historical materialism—suggests that capitalism is not an eternal system but one that emerged at a particular moment in history and will eventually be replaced by a different mode of production. For Jameson, this historical perspective is crucial for understanding both the nature of capitalism and the possibility of overcoming it. He emphasizes the importance of Marx’s dialectical method, which allows for a dynamic understanding of capitalism as a constantly evolving system that contains within it the seeds of its own destruction.

One of the most striking aspects of Jameson’s reading of Capital is his attention to the contradictions of capitalism. Marx’s analysis is built around the idea that capitalism is inherently contradictory—it generates immense wealth but also widespread poverty, it increases productivity but also leads to crises of overproduction, and it creates the conditions for its own downfall even as it appears to be more dominant than ever. Jameson highlights these contradictions, suggesting that they are not just economic problems but also cultural and ideological ones. He argues that the contradictions of capitalism are reflected in the way we think about the world, in the way we represent reality to ourselves. This, for Jameson, is where Marx’s analysis intersects with cultural theory, as it provides a way of understanding how ideology functions under capitalism.

Jameson also explores the role of ideology in Marx’s analysis, particularly through the concept of commodity fetishism. For Marx, ideology is not just a set of false beliefs; it is a material force that shapes the way we experience the world. Commodity fetishism, where the social relations between people are masked by the relations between things, is one of the key ways in which ideology operates under capitalism. Jameson builds on this idea, suggesting that ideology is not just a distortion of reality but a necessary part of the capitalist system. It is through ideology that capitalism maintains its grip on society, even in the face of its contradictions.

In Representing 'Capital', Jameson is not content to simply restate Marx’s arguments; he pushes them in new directions, drawing on his own background in literary and cultural theory to offer fresh insights into Marx’s work. He situates Capital within a broader intellectual tradition, connecting it to the work of other thinkers such as Georg Lukács, Theodor Adorno, and Walter Benjamin. In doing so, he highlights the ways in which Marx’s analysis of capitalism can be seen as part of a larger project of critical theory—one that seeks to understand not only the economic structures of society but also the cultural and ideological ones.

 

Raymond Williams, "Drama from Ibsen to Eliot" (Book Note)

Drama from Ibsen to Eliot by Raymond Williams examines the evolution of modern drama by analyzing the works of significant playwrights from Henrik Ibsen to T.S. Eliot. Williams focuses on the thematic, structural, and stylistic developments in drama, emphasizing the relationship between theatre, society, and ideology. His study highlights how modern drama reflects the social changes and intellectual currents of the 19th and 20th centuries. Williams traces how playwrights adapted traditional dramatic forms to engage with contemporary realities, including shifts in class dynamics, gender roles, and individual psychology.

Williams positions Henrik Ibsen as a foundational figure in modern drama, crediting him with breaking away from the constraints of romanticism and melodrama to develop a form of theatre grounded in social realism. Ibsen’s plays, such as A Doll’s House and Ghosts, explore the conflicts between personal freedom and social expectations. Williams emphasizes that Ibsen’s use of everyday settings and realistic dialogue allowed for a deeper exploration of societal problems, such as gender inequality and moral hypocrisy. Ibsen’s plays not only dramatize personal crises but also interrogate the norms that structure family and society, making theatre a site for social critique.

Williams also explores the influence of Anton Chekhov and his unique contribution to modern drama through the use of subtext and psychological depth. In Chekhov’s plays, such as The Cherry Orchard and Uncle Vanya, much of the drama unfolds beneath the surface of everyday conversation, capturing the complexities of human emotion and motivation. Williams argues that Chekhov’s focus on the inner lives of his characters reflects a shift toward introspection in theatre, moving away from external action toward emotional realism. This innovation influenced later playwrights, demonstrating how theatre could convey the subtleties of human experience.

The discussion extends to August Strindberg, whose expressionistic techniques introduced new possibilities for representing inner conflict and psychological disorientation. Strindberg’s plays, such as Miss Julie and The Dream Play, incorporate fragmented narratives and dream sequences, blurring the boundaries between reality and imagination. Williams suggests that Strindberg’s experimental approach reflects the anxieties of a world grappling with rapid social change and the breakdown of traditional certainties. His work anticipates the developments in modernist drama, which sought to explore the subjective nature of experience and the instability of identity.

Moving into the 20th century, Williams analyzes the contributions of playwrights such as Bertolt Brecht, who developed the concept of epic theatre to engage audiences intellectually rather than emotionally. Brecht’s plays, including Mother Courage and Her Children and The Good Person of Szechwan, challenge conventional theatrical forms by using techniques such as alienation to prevent the audience from becoming too emotionally absorbed in the narrative. Williams emphasizes that Brecht’s theatre aims to provoke critical thinking about social and political issues, aligning with Marxist ideals of raising consciousness. The goal of epic theatre is not just to entertain but to inspire action and change by making the audience aware of the forces shaping their world.

Williams also discusses the influence of symbolism and surrealism in the works of playwrights like Luigi Pirandello and Federico García Lorca. These movements reflect a shift away from realism toward more abstract forms of expression, using symbolism to explore themes such as alienation and existential despair. Plays like Pirandello’s Six Characters in Search of an Author challenge the conventions of narrative structure by questioning the nature of reality and identity. Williams suggests that such experiments reflect a broader cultural shift toward skepticism and uncertainty in the modern world, where traditional narratives no longer provide clear meaning or resolution.

Another significant development that Williams examines is the theatre of absurdity, represented by playwrights such as Samuel Beckett and Eugène Ionesco. Plays like Beckett’s Waiting for Godot and Ionesco’s The Bald Soprano reject traditional plot structures, instead focusing on the meaningless and repetitive nature of human existence. Williams argues that the absurdist theatre reflects a sense of disillusionment with rationality and progress, capturing the existential anxieties of the postwar period. By abandoning conventional storytelling, these plays force audiences to confront the absurdity of life and question the assumptions that underlie human behavior.

In addition to these dramatic developments, Williams addresses the role of T.S. Eliot, who sought to reintegrate poetic language into theatre through works like Murder in the Cathedral. Eliot’s drama combines modern themes with traditional forms, drawing on religious and philosophical ideas to create a theatre of reflection and ritual. Williams suggests that Eliot’s use of verse drama represents an attempt to reclaim the spiritual dimension of theatre, offering a response to the fragmentation of modern experience. Eliot’s work reflects a desire to find meaning and coherence in a world that seems increasingly disjointed and uncertain.

Throughout his analysis, Williams emphasizes the interplay between form and content in modern drama. He argues that the evolution of dramatic structure reflects the changing social and intellectual conditions of the time. Playwrights adapted existing forms or created new ones to address contemporary concerns, whether through realism, expressionism, symbolism, or absurdism. Williams views these developments as part of a broader cultural shift toward questioning established norms and exploring new ways of understanding the self and society.

Williams also highlights the importance of theatre as a public space for dialogue and debate. He argues that drama serves as a mirror for society, reflecting its conflicts and contradictions. However, theatre is not just a passive reflection; it also plays an active role in shaping social consciousness. By presenting different perspectives and challenging dominant ideologies, theatre has the potential to influence how people think about themselves and their world. Williams sees modern drama as a site of contestation, where competing values and ideas are explored and negotiated.

Another theme that Williams discusses is the relationship between individual experience and collective identity. Many of the plays he examines focus on the tension between personal desires and social obligations, exploring how individuals negotiate their place within a larger community. Whether through Ibsen’s portrayal of personal emancipation, Brecht’s critique of capitalism, or Beckett’s existential inquiries, modern drama grapples with the complexities of identity in a rapidly changing world. Williams argues that these explorations reflect a broader concern with the nature of modernity, where traditional forms of belonging are disrupted, and new identities are forged.

Williams concludes by reflecting on the challenges and possibilities of contemporary drama. He suggests that modern playwrights must continue to explore new forms of expression that respond to the changing conditions of the present. At the same time, he emphasizes the need for theatre to remain engaged with social and political issues, maintaining its role as a space for critical reflection and collective imagination. For Williams, the history of drama from Ibsen to Eliot demonstrates the ongoing relevance of theatre as a cultural practice that not only reflects but also shapes the world in which we live.

 

Raymond Williams, "Reading and Criticism" (Book Note)

Raymond Williams’ Reading and Criticism explores the relationship between literary reading and critical practice, presenting ideas central to cultural and literary theory. Williams examines the act of reading not just as a passive experience but as an interpretive and critical engagement. The text reflects his belief that literature is deeply embedded in society, culture, and politics, and that readers are participants in shaping meaning through their interpretive responses. His ideas contribute to the broader discourse of literary criticism, emphasizing that texts are not isolated entities but parts of a dynamic cultural process.

Williams challenges traditional notions of literary appreciation that treat texts as objects to be analyzed for their intrinsic aesthetic value. For him, literary works are not static artifacts; they belong to social processes and histories that influence both their creation and reception. The critical act, therefore, must involve recognizing these contextual elements. Williams argues that criticism should not remain confined to formalistic or purely aesthetic analyses but should engage with the historical, cultural, and ideological frameworks surrounding texts. In this way, he seeks to extend the boundaries of criticism beyond the established canon and toward a more inclusive, socially aware practice.

Williams emphasizes that reading is never a neutral activity. Every reader brings to the text their own experiences, biases, and cultural frameworks, which shape their understanding. This personal engagement implies that meaning is co-produced by the text and its reader, rather than being something fixed or inherent in the text alone. He critiques the elitism often found in traditional literary criticism, where critics assume authority over interpretation, creating a hierarchy between the critic and the general reader. Instead, Williams argues for democratizing the critical process by encouraging individual and diverse interpretations, making room for a variety of voices and perspectives.

The relationship between literature and ideology forms another crucial part of Williams’ discussion. He challenges the notion that literature exists in a realm above or separate from ideological forces. Instead, he views literature as both a product of ideology and a space where ideology is contested and reshaped. This understanding of the interaction between literature and ideology allows Williams to explore how texts can both reflect dominant social values and provide the means for resistance or alternative viewpoints. In this sense, reading becomes a form of critical engagement, where the reader can uncover underlying assumptions within texts and assess their relevance and impact.

Williams also critiques certain forms of literary criticism that focus excessively on textual formalism, such as New Criticism. He acknowledges the importance of close reading but argues that it must be complemented by attention to the socio-historical context of literary works. For Williams, focusing solely on the internal elements of a text, such as symbolism, narrative structure, and imagery, risks detaching the text from the conditions of its production and reception. Instead, he advocates for an approach that situates literary works within their social and historical moments, thus connecting literary criticism to broader cultural analysis.

In this broader framework, Williams also questions the division between high and low culture. He resists the tendency of traditional criticism to privilege canonical works while dismissing popular or mass literature. For Williams, the distinction between high and low culture is an artificial construct that reflects social divisions rather than inherent qualities of the texts. He argues that popular literature, like canonical texts, carries significant cultural meanings and should be analyzed with the same critical rigor. This inclusive approach opens the door for a more comprehensive understanding of literature, one that accounts for diverse forms of expression and the social contexts they engage with.

Williams’ discussion also touches upon the educational function of literary criticism. He believes that criticism plays a crucial role in shaping cultural awareness and fostering critical thinking. However, he warns against treating criticism as a specialized discipline accessible only to a select few. Instead, he sees it as a practice that should be encouraged among all readers. In this way, criticism becomes a means of empowering individuals to interpret the world around them and participate actively in cultural discourse. This view aligns with Williams’ broader political commitment to democratizing knowledge and fostering critical awareness within society.

The act of reading, in Williams’ view, is deeply intertwined with the practice of criticism. He suggests that every act of reading involves an element of interpretation and judgment, making criticism an integral part of the reading experience. This perspective challenges the conventional separation between reading for pleasure and reading critically, suggesting instead that the two are interconnected. For Williams, to read is to engage critically with the text, to question and reflect on its meanings, and to situate it within a broader cultural and ideological framework.

 

Jurgen Habermas, "The Crisis of the European Union"

In The Crisis of the European Union, Habermas explores the challenges facing the European Union in the wake of the financial crisis of 2008. For him, the crisis is not merely economic but fundamentally political and moral. He examines the institutional weaknesses of the EU, the failure to achieve democratic legitimacy, and the rise of nationalism, which threaten the union’s project of integration. Habermas argues that the EU must become a genuine political community, based on solidarity, democracy, and human rights, to survive these challenges.

Habermas contends that the 2008 financial crisis exposed the EU’s structural flaws, particularly the limitations of the eurozone. Although European countries had shared a monetary policy, they failed to coordinate fiscal policies effectively, making the euro vulnerable to economic shocks. The uneven impact of the crisis on various member states led to tensions between wealthier northern countries, such as Germany, and southern countries like Greece and Spain. Austerity policies imposed by the EU on struggling economies deepened the crisis and contributed to public disillusionment with the European project.

In Habermas’s view, the crisis revealed the lack of political unity in the EU. Decisions were largely made by technocratic elites rather than democratic processes, undermining the legitimacy of EU institutions. He criticizes what he calls "post-democratic" governance, where economic concerns dominate political debates, sidelining citizens and eroding trust in institutions. This lack of democratic accountability has encouraged nationalist movements and undermined the ideal of European solidarity.

A major focus of Habermas’s book is the EU’s democratic deficit. Although European institutions like the European Parliament exist, Habermas argues they are not sufficiently empowered to represent the collective will of European citizens. Key decisions are made by the European Council, where national governments prioritize their domestic agendas. As a result, the EU functions more like an intergovernmental organization than a supranational democracy, and citizens feel disconnected from European politics.

To address this deficit, Habermas calls for a shift from national sovereignty to a shared European sovereignty. He proposes that the EU develop a political constitution that ensures democratic participation across the union. In this new arrangement, national governments would retain some autonomy, but crucial issues, such as fiscal policy and immigration, would be governed collectively through democratic procedures at the European level. This would create a transnational public sphere where European citizens actively engage in political deliberation and shape the future of the union.

Habermas’s argument is grounded in his broader philosophy of communicative action and deliberative democracy. He envisions the EU as a model for global governance based on cosmopolitan principles—an experiment in overcoming nationalism and fostering cooperation among diverse societies. According to Habermas, the European project is an attempt to institutionalize post-national forms of solidarity, where loyalty to shared values and democratic ideals replaces ethnic or national identity.

For Europe to fulfill its cosmopolitan potential, however, Habermas insists that it must prioritize justice and human rights. He criticizes the focus on economic interests and calls for the EU to become a community of values. This would require member states to recognize their interdependence and act in solidarity, especially during crises. The goal is to create a Europe that promotes peace, justice, and human dignity not only within its borders but also in its relations with the rest of the world.

Habermas offers a critique of Germany’s role in managing the crisis. As Europe’s largest economy, Germany played a dominant role in shaping the EU’s response to the financial crisis. However, Habermas argues that German leaders prioritized national interests over European solidarity, insisting on austerity measures that worsened economic inequality between member states. This approach, he warns, fuels resentment and weakens the European project by reinforcing national divisions.

Habermas urges German politicians to adopt a more European perspective and lead efforts to strengthen the EU’s political and democratic structures. He emphasizes that Germany’s long-term interests are aligned with the success of the European project. Instead of using its economic power to impose policies on weaker countries, Germany should promote institutional reforms that foster equality and cooperation within the union.

A key argument in Habermas’s book is that the EU faces a choice between further integration and fragmentation. He believes that the current model—marked by intergovernmentalism and market-driven policies—is unsustainable. If the EU fails to democratize and strengthen its political institutions, it risks becoming irrelevant or disintegrating under the pressure of nationalism and economic inequality.

Habermas proposes a "constitutionalization" of the EU, which would involve creating a political framework based on shared sovereignty, democratic principles, and respect for human rights. This would require transferring more powers to European institutions while ensuring that citizens participate in political decisions at both the national and European levels. Such a transformation would make the EU more resilient to future crises and provide a model for other regions seeking to build cooperative political communities.

However, Habermas acknowledges the challenges of achieving this vision. He recognizes that national governments are reluctant to cede power to European institutions, and public support for deeper integration is fragile. To overcome these obstacles, political leaders must engage in honest dialogue with citizens, explaining the benefits of a more united Europe while addressing legitimate concerns about national identity and democratic accountability.

In the concluding section Habermas reflects on Europe’s responsibility in an increasingly interconnected world. He argues that Europe’s historical experience of war, nationalism, and reconciliation gives it a unique role in promoting peace and cooperation globally. However, to fulfill this role, the EU must first resolve its internal contradictions and become a truly democratic and united political community.

Habermas’s vision for the EU is ambitious but grounded in his philosophical commitment to democracy, solidarity, and human rights. He challenges European citizens and leaders to move beyond short-term national interests and embrace a cosmopolitan vision for the future. In his view, the success of the European project depends on the willingness of people to engage in political deliberation and build institutions that reflect their collective aspirations.

 

Jurgen Habermas, "A New Structural Transformation of the Public Sphere a...

In A New Structural Transformation of the Public Sphere and Deliberative Politics, Habermas revisits the themes he first explored in his 1962 work The Structural Transformation of the Public Sphere but updates them for the digital age. The original book traced the emergence and decline of the public sphere, a realm where private citizens engaged in rational-critical discourse, influencing political life. In the 1962 study, Habermas examined how the public sphere initially arose within the bourgeois class in the 18th and 19th centuries through salons, coffeehouses, and literary discussions. This sphere gradually became political, with newspapers and journals disseminating information that allowed individuals to critique government authority and deliberate on pressing social and political issues. At the heart of this process was the notion that shared access to information enabled citizens to engage in meaningful dialogue, generating opinions that could influence state policies.

The new book reflects on how these dynamics have been radically altered by digitalisation, the commodification of media, and the proliferation of social platforms. Habermas observes that traditional media, once a mediator for public discourse, is now shaped by market logic, which has shifted its focus from critical journalism to profit-maximising entertainment. This change has compromised the deliberative function of the media, making the public sphere more fragmented and less discursive. In the contemporary media landscape, economic pressures have forced media organisations to cut back on investigative journalism and prioritise content that maximises engagement and revenue, such as entertainment and sensational news. As a result, the political public sphere has lost some of its coherence, and public engagement with current affairs has diminished.

While Habermas acknowledges that the digital sphere offers new opportunities for participation, he emphasises that the shift from traditional media to digital platforms introduces new complexities. The mass public, no longer merely passive consumers of information, have become authors, editors, and publishers of content through social media. This transformation has the potential to amplify marginalised voices and foster inclusivity by bypassing traditional gatekeepers. Digital platforms, in theory, create a more egalitarian space where anyone can contribute to public discourse. However, the unregulated nature of these platforms brings significant risks, such as the spread of misinformation and the breakdown of intersubjective agreement on what constitutes truth or rightness. In the absence of fact-checking and editorial oversight, social media often circulates content of varying quality and factuality, undermining the shared norms necessary for productive public debate.

The fragmentation of the public sphere is one of Habermas’s primary concerns. He warns that while social media claims to offer a democratic platform for discourse, it also promotes the formation of echo chambers, where users engage primarily with content that aligns with their existing views. The algorithmic design of social platforms encourages personalised content consumption, limiting exposure to diverse perspectives. This results in segmented communication circuits that become self-reinforcing, with participants becoming less likely to engage with opposing viewpoints. As social groups retreat into isolated bubbles, the inclusivity and discursive quality of the political public sphere suffer, making it difficult to reach consensus on societal issues.

Habermas situates these developments within a broader context of declining trust in social institutions. He notes that while polarisation has intensified with the rise of digital media, it is not solely a product of the internet. In countries like the United States, for example, political campaigns have long used micro-targeting strategies to appeal to specific voter groups, reinforcing divisions along party lines. This trend predates the digital era, suggesting that fragmentation is a more complex phenomenon, shaped by political, social, and institutional dynamics. Habermas argues that although social media exacerbates polarisation, it is not the sole cause of the growing divisions in society. The erosion of trust in institutions, along with the strategic use of digital tools by political elites, has also contributed to the disintegration of the public sphere.

In his discussion of solutions, Habermas advocates for the regulation of digital media to address these challenges. He argues that platforms should be held accountable for the content they disseminate, even if they do not produce or edit it directly. This responsibility is necessary to ensure that online discourse meets the standards of deliberative politics, where claims can be scrutinised, challenged, and justified. However, Habermas acknowledges the difficulty of implementing effective regulation, especially in a fragmented political environment. Establishing universally recognised norms for content moderation would be challenging, as different groups interpret events and facts through divergent ideological lenses. The storming of the U.S. Capitol on January 6th, 2021, exemplifies this problem. Competing narratives framed the event either as an attack on democracy or a protest against perceived electoral injustice, illustrating how deeply divided societies struggle to agree on basic facts.

Habermas also raises concerns about the potential for state overreach in regulating digital platforms. While regulation is necessary to maintain the integrity of public discourse, there is a risk that state intervention could be perceived as illegitimate or coercive, further fragmenting the public sphere. The challenge lies in balancing the need for oversight with the principles of free expression and autonomy. Habermas cautions that regulation alone cannot fully address the underlying issues of fragmentation and polarisation. Even if digital platforms adopt stricter norms for content moderation, echo chambers and micro-targeting strategies will likely persist, reinforcing social divisions.

The book concludes with a reflection on the limitations of regulation as a solution to the crisis of the public sphere. Habermas argues that meaningful social integration requires more than just the regulation of online content. Addressing fragmentation and polarisation will also demand efforts to rebuild trust in institutions, foster cross-cutting dialogue, and encourage civic engagement. While digital platforms can play a role in promoting these goals, they cannot substitute for the broader cultural and institutional changes needed to restore the inclusivity and discursivity of the public sphere. Habermas suggests that the future of deliberative politics depends on the ability of society to develop new norms and practices that bridge divides and create spaces for meaningful dialogue.

 

Fredric Jameson, "Valences of the Dialectic" (Book Note)

Fredric Jamesons Valences of the Dialectic consists of three parts: a new book on the dialectic, a third volume of the essay collection Ideologies of Theory, and a middle section. The book focuses on Hegel's thought of the Two, which is characterized by fundamental unrest and instability that dissolves certainty in contradiction and propels it forward into something else. The book explores the concept of the dialectic as a system or method, a set of operations across disciplines and discourses, and the effect of the dialectic on the conceptual field.

The first chapter, "The Three Names of the Dialectic," discusses the dialectic as a system or method, "many dialectics" as a set of operations across disciplines and discourses, and "it's dialectical!" as a name for the effect of the dialectic. The key moment in this chapter is the discovery of binary opposition as a generative principle of meaning and the form of ideology and error. This allows for a new staging of the emergence of the dialectic, which can be identified in various thinkers, such as Coleridge, Mondrian, Aeneid, Foucault, and Deleuze. The book also presents a typology of distinct procedures that can be shown to be "dialectical" in some substantial sense.

The second moment of the text presents a singular "method" that was to be avoided in the first, leading to a set of discursive regularities and laws to be discovered. The dialectic is not stable but is implicated in the movement of the dialectic, which is both familiar and harmless. The difference between the dialectic and this attitude is already fully present in Hegel, who insists that the dialectic was already an operation in the object itself. This is the explosive force of the central Hegelian claim for the "reality of the appearance," or that "the essence must appear."

The book also includes four names, including the "spatial dialectic," which has caused some confusion and suspicion. It is important to understand that the spatial dialectic is still historical and aims to outfit the dialectic for a moment when space is a conceptual dominant. The Phenomenology of Spirit itself is far from straightforwardly chronological, but many relationships in the Phenomenology are explicitly spatial ones.

The second chapter is stimulating but more difficult to summarize. It is a guided tour of the Encyclopedia Logic, organized through the itinerary of vulgar understanding or Verstand, which assumes various forms as the Logic unfolds. Jameson's solution is that the space of the Logic is heterogeneous from one moment to the next, and the movement from one contradiction to another in the text is not so much to be thought of as a movement higher in some absolute space but rather wider with reference to the moment that preceded it. The real innovation here is to identify Verstand with reification, turning the venerable question of "Marx's Hegelianism" on its head.

"Hegel's Contemporary Critics" by Jameson explores the fading influence of critics like Derrida, Deleuze, Blanchot, and Foucault on contemporary anti-Hegelian thought. The book suggests that the dialectic has its enemies on the Right, and post-Deleuzian neo-Spinozists may be an exception. The chapter presents a series of defenses of the dialectic against some of its most worthy opponents, while later engagements with these thinkers will assume a more dialectical form.

The chapter addresses Hegel's critique of spectrality within Marxism, arguing that it is central to the Derridean corpus. The full Deleuze chapter hews closer to the case made here, arguing that there is an irresolvable tension between the monism of desire in Deleuze and the various dualisms that proliferate in his work. Once this tension is produced, it becomes ripe for dialectical picking.

In Part III, Jameson addresses the "intersectionality" problem, defending Totality and reappraising Lukács's legacy for aesthetic thought. It challenges the narrow-minded privileging of class standpoint as epistemological fulcrum and argues for the production of insights to which this or that standpoint provides privileged access. Jameson singles out feminist science studies as the principal example, and Fanon stands in for a range of insights that continue up to the present day.

The chapter also discusses Pierre Bourdieu's defense of the specificity of intellectual production, which can be recast as an answer to the "intersectionality" problem. The author suggests that the aversion to Totality is no longer as hegemonic for the intellectual Left as it once was, and this reversal would have to be approached as a symptom.

The text discusses the work of Jameson, a philosopher and political thinker, who presents his ideas in nondialectical form. His arguments often involve temporal adverbs, making it difficult for readers to understand his arguments. However, the two "entries" on Lenin and Rousseau are particularly noteworthy. The argument about Rousseau is similar to Deleuze's dialectical approach, while the argument about Lenin is essential for understanding the economic meaning within Marxism and the counterintuitive conclusion about Left politics today.

The text then moves into Part V, "Politics," which includes essays on globalization as a philosophical issue and globalization as a political strategy. The first essay, "Actually Existing Marxism," argues that Marxism can scarcely disappear until capitalism does, or if it did, it would have to be reinvented. Jameson divides the question into several parts, focusing on what is Marxism today, socialism, revolution, communism, and capitalism.

The remaining chapter, "Utopia as Replication," revisits Jameson's contribution to the concept of Utopia. He uses the utopias of Wal-Mart and the multitude to illustrate his "method" of finding a perspective from which an object can be narrativized into an allegory of a transformed world. Utopianism used to be an insult on the Left, but Jameson's good Utopianism perfectly "replicates" the old, bad Utopianism.

Jameson's Utopianism goes beyond this sense, finding a mediating link between the Utopian and the actual. The nation is the only form of political collectivity that is actual today, and Jameson's work derives from this imperative. However, not all Utopian allegories will be compatible, and any framework that leaves out this mediation or reserves a place for Elijah is insufficiently dialectical.

The final chapter of Jameson's book, Valences, is a commentary on the dialectic and its persistence. The author aims to produce a nonvulgar account of time by addressing the friction between Ricoeur's account of time and a dialectical one. Jameson's translation of Aristotle's definition of time into a mere juxtaposition of temporalities, such as movement, number, and before and after, provides a sense of what is to come.

The author also discusses the three temporalities that govern Braudelian historiography. He believes that history does not automatically appear alongside time, but rather, it is made to appear through totalization. This involves assembling multiple and disparate temporalities into a followable narrative. The conflict between temporalities must be narrativized, and this requires a process of totalization to put them into determinate relations with each other.

Jameson is concerned with deanthropomorphizing the narrative categories themselves, such as Ricoeur's Aristotelian ones like reversal, recognition, and pathos. He emphasizes the key category of pathos, which is the coming-to-appearance of plot itself and the Event in an historical register. Two modes of totalization are essential: history as system and history as event. The first involves unifying diverse actors and motives into a massive homeostasis, while the second involves unifying diverse series, contingencies, and accidents in the mode of will and action.

The grounding of historical thought undertaken in this final section is not just a defense, explication, deployment, or elaboration of the dialectic but a profound contribution to dialectical thought. It is surprising that neither Hegel nor Marx questions the being of History in this way, but they lived in historical times and did not face the task Jameson has set himself: to make history appear.

 

Ralph Waldo Emerson, "The Poet" (Summary)

In his essay "The Poet," first published in 1844, Ralph Waldo Emerson shares his ideas about what makes a true poet and what role the poet plays in society. He believes that a poet is someone who sees deeply into the mysteries of the world and reveals universal truths that connect all people. According to Emerson, a real poet is able to express feelings and thoughts that others might struggle to put into words, speaking on behalf of all humanity.

At the start of the essay, Emerson includes two epigraphs (short quotes). The first one describes a "moody child," representing the qualities of a poet—someone who can see beyond the surface of things. The second epigraph is from Emerson's own poem, "Ode to Beauty," and talks about ancient poets who inspire people to see the world with fresh eyes. This ties into Emerson's hope that Americans will embrace their own unique culture instead of following European traditions.

The essay is divided into four main parts. In the first part (paragraphs 1-9), Emerson describes the poet as both an interpreter of the world and a visionary. In the second part (paragraphs 10-18), he discusses how the poet, language, and nature are interconnected. The third part (paragraphs 19-29) expands on the idea of the poet as a visionary who can free people by sharing imaginative, transcendental insights. In the final part (paragraphs 30-33), Emerson returns to a theme from his earlier work "The American Scholar," reflecting on the need for an American poet to express the beauty of the land and its people.

Emerson believes that the poet has a higher calling than others. While intellectuals focus only on ideas, and theologians depend on historical facts, the poet understands that the spiritual and material worlds are connected. Emerson emphasizes that humans are "children of the fire," with the fire representing the powerful spirit inside each of us.

He then explains that the poet speaks for all humanity. The poet is "the complete man" who stands as an ideal figure for Americans to admire. While separated from society, the poet is closely connected to nature. Emerson argues that most people have lost touch with nature's vital energy, so we need poets to help us understand it again. The poet, he says, sees things that others only dream about and must share nature's hidden wonders with the rest of us.

Emerson describes the poet as one of three "children" of the universe, alongside cause and effect. He uses the example of Christianity's Father, Spirit, and Son to explain this, comparing the poet to the "sayer" and the lover of beauty. Emerson argues that because beauty creates the universe, and the poet is the "man of Beauty," the poet is, in a sense, the creator of the universe.

He continues by saying that poetry has existed since the beginning of time, not in the literal sense that every poem was written long ago, but because the themes of poetry—our lives and why we exist—are timeless. These questions have always been part of the human experience. A "true poet," according to Emerson, is someone who connects with this deep spirituality and expresses the fundamental truths of our lives.

In the second part of his essay, Emerson explores how poets use language and its connection to nature. He views language as a natural phenomenon, explaining that early languages were filled with images. These original meanings can still be found in the roots of words. For instance, the word heart is used to express feelings, and head represents thought. This reflects Emerson’s idea that language is symbolic because nature itself is a symbol, both in its entirety and in each part.

According to Emerson, this symbolic language is universal, but most people don’t fully understand it. The poet’s role is to interpret and reveal the meanings of nature through language. That’s why Emerson calls the poet the "Namer" and "Language-maker." The poet helps people see and understand nature’s deeper truths.

However, Emerson doesn't claim that people who are not connected to nature are completely unaware of its wonders. They can still feel the "living power" in nature, but they struggle to explain it or grasp its full meaning. This is especially true for city dwellers, who feel the energy of nature but find it elusive and hard to describe. The poet helps bridge this gap, giving voice to what others feel but cannot express.

Emerson continues to explore his ideas about the connection between nature, language, and the role of the poet. He emphasizes his belief that the poet is an essential link between the language of nature and the nature of language. The poet, he argues, serves as the interpreter of nature, expressing the deep truths hidden within it that most people do not see. Emerson also develops two related themes: every object in nature is a miniature version of the larger whole, and these individual parts help create order in nature.

For example, when most people look at a landscape, they see the trees, hills, or rivers and don't think much beyond that. However, the poet sees more than just objects — the poet sees how everything is part of a grand design, similar to how bees organize their hives or spiders create their intricate webs. By observing and interpreting these elements of nature, the poet can give new meaning to ordinary things, revealing a deeper beauty and power that others may not have noticed. In this way, the poet transforms these objects into something fresh and full of meaning.

Emerson touches on another favorite idea of his — evolution. He suggests that the poet sees the spirit or essence of each object in nature and understands that everything is moving toward a higher form. Later in the essay, Emerson will expand on this idea by talking about how even the human soul evolves, transforming into something greater.

The poet's ability to interpret nature is deeply tied to imagination, which Emerson describes as a "high sort of seeing." He introduces the concept of imagination by telling a story about a local sculptor. Although the sculptor was not very good with words and had trouble expressing himself, his sculptures were beautiful and conveyed a deeper meaning that went beyond what words could describe. Emerson draws a parallel between the sculptor and the poet, explaining that while the sculptor works with marble, the poet works with language to create art. The poet’s words may not always depict reality exactly as it is, but through imagination, the poet can reveal a deeper, inner truth. This inner reality may seem strange or irrational at times, but it is still powerful and meaningful.

From this discussion of imagination, Emerson addresses a common stereotype of poets — the association of poets with overindulgence, particularly with alcohol or drugs. He explains that this connection makes sense because the poet is always searching for something beyond the surface of things. The poet seeks what Emerson calls "the true nectar," which represents the deeper truth hidden within the world. Since poets often work with images of beauty and are closely connected to the senses, they are more aware of physical appetites and sensations. However, Emerson argues that the true poet, the one who achieves the highest level of understanding, seeks only what is pure and unsullied. For this poet, the most powerful form of intoxication is not alcohol or drugs, but the imagination itself. This true poet realizes that the imagination offers the most profound and satisfying experience.

As the essay progresses, Emerson returns to the importance of the poet to humanity. He emphasizes that the poet is not just an interpreter of nature; the poet is like a "liberating god." The poet has the power to free people by awakening their imaginations and helping them see the world in new ways. For those who struggle to understand the complexities of life, the poet's words can offer inspiration and guidance. Emerson uses the image of children to symbolize the freedom and joy that come from an unburdened imagination. He describes how, when touched by the poet's words, we feel as though we are "touched by a wand" that makes us dance and run about happily, like children. This playful and joyful image reflects the sense of liberation and transcendence that the poet can inspire in others.

In this part of the essay, Emerson also uses the terms "liberation" and "emancipation" as equivalents for "transcendence." He explains that liberation is similar to the idea of transcendence that he discusses in his other essays. Here, transcendence is expressed in phrases like "a new sense" and "within their world another world, or nest of worlds," suggesting that through the poet's work, we can discover new layers of meaning and experience.

In the final section, Emerson reflects on the need for a true poet who can capture the essence of the American experience. He believes that America is still waiting for such a poet, someone who can do for Americans what Shakespeare did for the British or what Dante did for the Italians. Emerson calls for a new kind of American poetry that reflects the unique qualities of the continent and its people. He believes that just as he called for a new American philosophy in his essay "The American Scholar," there is a need for an American poetic genius who can express the beauty and spirit of the new world.

Although Emerson wrote this essay eleven years before Walt Whitman published Leaves of Grass, Whitman is often seen as the poet Emerson was calling for — someone who could capture the American experience in a way that was original and profound. Emerson's call for an American poet has also been associated with poets like Robert Frost, who is considered a contemporary example of the kind of poet Emerson envisioned.

In the final paragraphs, Emerson delivers an almost ecstatic invocation of the poet. As a diligent craftsman, Emerson’s invocation of the muse is a reminder of Greek mythology and takes us back to the essay's opening epigraphs. He calls on his idealized American poet to rise to new heights of creativity and insight, encouraging them to fully express the unique spirit of the American experience.