Fredric Jameson Citas

• It is now easier to imagine the end of the world than to imagine the end of capitalism.

  Fredric Jameson

  Political, World, Imagine

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• Muchos consideran que la estandarización de la cultura mundial, con formas populares o tradicionales locales eliminadas o embrutecidas para dar paso a la televisión, la música, la comida, la ropa y las películas estadounidenses, es el núcleo mismo de la globalización.

  Fredric Jameson

  Heart, Clothes, Culture

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• In a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles... Contemporary or postmodernist art... will involve the necessary failure of art and the aesthetic, the failure of the new, the imprisonment in the past.

  Fredric Jameson

  Art, Past, Innovation

  Fredric Jameson (1998). “The Cultural Turn: Selected Writings on the Postmodern, 1983-1998”, p.7, Verso

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• Si todo fuera transparente, no habría ideologías.

  Fredric Jameson

  Would Be, Ideology, Transparent

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• It is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place.

  Fredric Jameson

  Thinking, Age, Firsts

  Fredric Jameson (1991). “Postmodernism, Or, the Cultural Logic of Late Capitalism”, p.9, Duke University Press

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• The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination.

  Fredric Jameson

  Fascination, Ends, Mindless

  Fredric Jameson (2013). “Signatures of the Visible”, p.1, Routledge

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• Utopia would seem to offer the spectacle of one of those rare phenomena whose concept is indistinguishable from its reality, whose ontology coincides with its representation.

  Fredric Jameson

  Reality, Ontology, Utopia

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• Insofar as the theorist wins, therefore, by constructing an increasingly closed and terrifying machine, to that very degree he loses, since the critical capacity of his work is thereby paralysed, and the impulses of negation and revolt, not to speak of those of social transformation, are increasingly perceived as vain and trivial in the face of the model itself.

  Fredric Jameson

  Winning, Degrees, Machines

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• Porque cuando hablamos de la expansión del poder y la influencia de la globalización, ¿no nos referimos en realidad a la expansión del poder económico y militar de Estados Unidos?

  Fredric Jameson

  Military, Economic Globalization, Might

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• Entonces, ¿es siempre nacionalista resistirse a la globalización estadounidense? Estados Unidos cree que sí, y quiere que usted esté de acuerdo; y, además, que considere los intereses estadounidenses como universales.

  Fredric Jameson

  Thinking, Aggravation, Want

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• If it is, in reality, capitalism that is the motor force behind the destructive forms of globalization, then it must be in their capacity to neutralize or transform this particular mode of exploitation that one can best test these various forms of resistance to the West.

  Fredric Jameson

  Reality, Resistance, West

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• The United States has made a massive effort since the end of the Second World War to secure the dominance of its films in foreign markets - an achievement generally pushed home politically, by writing clauses into various treaties and aid packages.

  Fredric Jameson

  War, Home, Writing

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• Often, these downplay the power of cultural imperialism - in that sense, playing the game of US interests - by reassuring us that the global success of American mass culture is not as bad as all that.

  Fredric Jameson

  Mass Culture, Games, Reassuring

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• The more worrying feature of the new global corporate structures is their capacity to devastate national labour markets by transferring their operations to cheaper locations overseas.

  Fredric Jameson

  Worry, Location, Structure

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• A further point is that, little by little, in the current universe, everything is slowly being named; nor does this have anything to do with the older Aristotelian universals in which the idea of a chair subsumes all its individual manifestations.

  Fredric Jameson

  Ideas, Doe, Littles

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• En la mayoría de los países europeos -Francia destaca por su resistencia a esta forma particular de imperialismo cultural estadounidense-, las industrias cinematográficas nacionales se vieron obligadas a ponerse a la defensiva después de la guerra por estos acuerdos vinculantes.

  Fredric Jameson

  Country, War, Agreement

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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• Y este miedo a que los modelos estadounidenses estén sustituyendo a todo lo demás se extiende ahora desde la esfera de la cultura a nuestras dos categorías restantes: porque este proceso es claramente, en un nivel, el resultado de la dominación económica, de las industrias culturales locales cerradas por los rivales estadounidenses.

  Fredric Jameson

  Two, Culture, Levels

  Fredric Jameson (2009). “Valences of the Dialectic”, Verso Books

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