![]() ![]() ![]() ![]() Stern’s On Realism, Jameson prepared us for his approach: This was true in the case of realism’s relationship to romance in The Political Unconscious: Narrative as a Socially Symbolic Act (1981) its relationship to modernism in A Singular Modernity: An Essay on the Ontology of the Present (2002) and its role as ‘an absent third term’ (the second being modernism) in Postmodernism, or, The Cultural Logic of Late Capitalism (1991). It was an essential minor player, or a supporting antagonist, or even part of the back-stage crew, but never the central character it was never directly under the glare of his formidable critical spotlight. ![]() In Jameson’s many previous books, realism was always in the shadows. Yet Jameson has not until now devoted an entire book to what he calls a ‘hybrid’ literary mode. It is not sufficiently iterated in commentary about this literary theorist best known for his powerful reading of postmodernism as the ‘cultural logic of late capitalism’ that the concept of realism has always been an essential part of the scaffolding in his critical architecture. With The Antinomies of Realism, Fredric Jameson finally provides the sustained examination of literary realism that those following his critical writings have long suspected might one day appear. ![]()
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