By Fredric Jameson
Fredric Jameson sweeps from the Renaissance to The Wire
High modernism is now as faraway from us as antiquity was once for the Renaissance. Such is the basis of Fredric Jameson’s significant new paintings during which modernist works, this time in portray (Rubens) and track (Wagner and Mahler), are pitted opposed to late-modernist ones (in movie) in addition to a number of postmodern experiments (from SF to The twine, from “Eurotrash” in opera to Altman and East German literature): all of which try, of their other ways, to invent new types to know a particular social totality. in the course of the old classes, argues Jameson, the query of narrative persists via its a number of formal adjustments and metamorphoses.
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