Lyotard's The Postmodern Condition (1979). Anderson identifies the publication of two texts as central: Robert Venturi, Denise Scott Brown, and Stephen Izenhour's Learning from Las Vegas (1972) and J. Though the term would not gain widespread currency until the 1970s, Anderson reminds us that these two features of postmodernism-the place of its intellectual genesis (the "periphery") and its latent conservatism-would play important roles as the concept developed and mutated in the western academy.īy the 1970s, several enthusiastic supporters of postmodernism emerged from a variety of disciplinary and artistic backgrounds. Federico de Onís coined the phrase in the 1930s to describe a "conservative reflux" within modernism, while he used the term ultramodernismo to describe the continuation and supersession of modernism's radical impulses in newer works of art (4). And make no mistake, this is probably Jameson's greatest scholarly attribute: his ability to synthesize so many disparate intellectual and artistic strands into coherent meditations without resorting to absurd generalizations or abstract sophistry gives his insights the sharp edge that so many less ambitious critics lack.Īnderson begins the bookat his best, uncovering the obscure and tremulous origins of the word "postmodernism." As few of us may have expected, the term, like its predecessor, modernism, was first used in Latin America, "born in a distant periphery rather than at the centre of the cultural system of the time" (3). Meanwhile, Jameson himself offers a more eclectic and restless narrative of the postmodern, a script in which no clear heroes emerge and the only antagonist, multinational capitalism, remains shadowy and peripheral, ominously stalking the varied cultural fields in the book's purview. Better known for his Althusserian Marxism and fierce polemics while editing New Left Review during the 1960s and 70s, Anderson shows in this most recent work-originally conceived as an introduction to Jameson's collection and best read "in conjunction with the volume that inspired it" (vii)-a somewhat softer edge, making no secret of his admiration for Jameson's work. With The Origins of Postmodernity, Perry Anderson, a relative neophyte to the subject, has at last provided a lucid intellectual history for a field plagued by methodological confusion and argumentative indecision. $65.00įrederic Jameson, The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. (nautical) To cause to shake or tremble, as a sail, by steering close to the wind.Perry Anderson.* 1922, ( Margery Williams), ( The Velveteen Rabbit) He was shivering a little, for he had always been used to sleeping in a proper bed, and by this time his coat had worn so thin and threadbare from hugging that it was no longer any protection to him.Eshton's chair, and said something to him in a low voice, of which I heard only the words, "old woman,"-"quite troublesome." The footman who brought the coal, in going out, stopped near Mr. Mason, shivering as some one chanced to open the door, asked for more coal to be put on the fire, which had burnt out its flame, though its mass of cinder still shone hot and red. * 1847, , ( Jane Eyre), Chapter XVIII Mr.* Creech The man that shivered on the brink of sin, / Thus steeled and hardened, ventures boldly in.To tremble or shake, especially when cold or frightened.
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