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By John Frow

John Frow's ebook is a unique contribution to Marxist literary concept, presenting a reconciliation of formalism and historicism with the intention to identify the foundation for a brand new literary heritage. via a critique of his forerunners in Marxist conception (the historicist Marxism of Lukács, the paintings of Macherey, Eagleton, and Jameson), Frow seeks to outline the strengths and the constraints of this custom after which to increase its probabilities in an intensive transforming of the idea that of discourse. He develops the idea of literature as a traditionally particular process inside a community of discourses.

Frow is going directly to problematic a few primary theoretical different types and to discover the historic size of these different types. Drawing specifically on Russian Formalism, he develops a conception of the dynamics of literary swap and of the ancient pressures that form the literary process. He exams and extends his different types via readings of texts through Petronius, Hölderlin, DeLillo, Dickens, Frank Hardy, and others. the ultimate bankruptcy, a studying of Derrida and Foucault, poses the query of the potential for atmosphere limits to examining and the facility of limits to figure out literary background.

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Its strength lies perhaps in its ability to explore the forms of gratification offered by even the most repressive ideologies. But for all the passion of Jameson's commitment to the utopian impulse,23 there seem to me good grounds for the reserve with which it is usually treated. The concept through which Jameson attempts to theorize the collective projection of desire is that of the Asiatic mode of production, with its consolidation of a dispersed collective unity in the image of the body of the despot (295).

What is problematic in Althusser's "antiteleological formula for history" (34) is that "it can readily be assimilated to the polemic themes of a host of contemporary poststructuralisms and post-Marxisms, for which History, in the bad sense – the reference to a 'context' or a 'ground,' an external real world of some kind, the reference, in other words, to the much maligned 'referent' itself – is simply one more text among others" (35). Against such an assimilation – but also in contrast to his own condemnation, in The Prison-House of Language, of the distinction between the concrete and the concrete-in-thought as "essentially a replay of the Kantian dilemma of the unknowability of the thing-in-itself"21 – Jameson now welds together two, seemingly incompatible propositions in a "revised formulation" of Althusser's thesis: on the one hand there is an insistence "that history is not a text, not a narrative, 'master' or otherwise"; on the other the concession "that, as an absent cause, it is inaccessible to us except in textual form, and that our approach to it and to the Real itself [in Lacan's sense ] necessarily passes through its prior textualization, its narrativization in the political unconscious" (35).

This distinction between two levels of contradiction then makes it possible for Jameson to use a Greimassian semiotics of binary opposition to construct the system of ideological closure which the text works and transforms. The active and critical function of literary discourse is thereby redeemed, but at the expense, I think, of contradicting the initial model of imaginary – that is, ideological – resolution. What is at issue here – if I may worry at the problem a little longer – is the ontological distinction between levels of the real and the forms of mediation between them.

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