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Postmodernism, or, The Cultural Logic of Late Capitalism (review)

Postmodernism, or, The Cultural Logic of Late Capitalism (review) Postmodernism, or, The Cultural Logic of Late Capitalism (review) John Burt Foster Jr. The Comparatist, Volume 16, May 1992, pp. 152-154 (Review) Published by The University of North Carolina Press DOI: https://doi.org/10.1353/com.1992.0018 For additional information about this article https://muse.jhu.edu/article/415078/summary Access provided at 18 Feb 2020 11:12 GMT from JHU Libraries REVIEWS mined refusal of intelligible content and its ceaseless formal experimentation. Few of Adorno's theses display his modernist biases quite so openly; such a dispensation would seem to exclude most aesthetic production since, say, Warhol. In an extended commentary on the problem of nominalism and inno- vation in Adorno's Aesthetic Theory, Jameson labors mightily to vindicate the force of Adorno's categorical judgments and to demonstrate their flexibUity. Drawing heavily on musical examples, always a privileged source of reflection for Adorno, Jameson shows how Adorno assimUates aU genuine art to the modernist problematic, and radicaUy extends the scope of the dialectic of aesthetic enlightenment. Looking closely at Adorno's assertion that art has a "transaesthetic vocation," Jameson insists that the doctrine of aesthetic autonomy is more compUcated than its critics have acknowledged and, in par- ticular, more capable of addressing the status of poUtical art and cultural poUtics that figure so http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Postmodernism, or, The Cultural Logic of Late Capitalism (review)

Foster, John Burt, --
The Comparatist , Volume 16 – Oct 3, 2012
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University of North Carolina Press
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Abstract

Postmodernism, or, The Cultural Logic of Late Capitalism (review) John Burt Foster Jr. The Comparatist, Volume 16, May 1992, pp. 152-154 (Review) Published by The University of North Carolina Press DOI: https://doi.org/10.1353/com.1992.0018 For additional information about this article https://muse.jhu.edu/article/415078/summary Access provided at 18 Feb 2020 11:12 GMT from JHU Libraries REVIEWS mined refusal of intelligible content and its ceaseless formal experimentation. Few of Adorno's theses display his modernist biases quite so openly; such a dispensation would seem to exclude most aesthetic production since, say, Warhol. In an extended commentary on the problem of nominalism and inno- vation in Adorno's Aesthetic Theory, Jameson labors mightily to vindicate the force of Adorno's categorical judgments and to demonstrate their flexibUity. Drawing heavily on musical examples, always a privileged source of reflection for Adorno, Jameson shows how Adorno assimUates aU genuine art to the modernist problematic, and radicaUy extends the scope of the dialectic of aesthetic enlightenment. Looking closely at Adorno's assertion that art has a "transaesthetic vocation," Jameson insists that the doctrine of aesthetic autonomy is more compUcated than its critics have acknowledged and, in par- ticular, more capable of addressing the status of poUtical art and cultural poUtics that figure so

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The Comparatist – University of North Carolina Press

Published: Oct 3, 2012

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