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An Anti-Imperial Mythology

The Radical Vision of Howards End

Charles Campbell

not see British complicity in the imperial catastrophe of 1914’ because ‘he was reconciled to the Wilcoxes, to the financial interests’. 16 More perceptively, Fredric Jameson finds that Howards End convincingly portrays the imperialist subject in

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Who Can Save the Subaltern?

Knowledge and Power in Amitav Ghosh's The Circle of Reason

Sujala Singh

In recent times, the position of the Indian writer writing in English has undergone something of a transformation. The celebrations of post-colonial marginality have come to be replaced by allegations of what Graham Huggan has termed ‘strategic exoticism’. Even though the publication of Salman Rushdie’s Midnight’s Children (1981) is hailed as a turning-point, much contemporary criticism has tired of Rushdie’s chutnified histories and East–West fusions. By the time Arundhati Roy won the Booker in 1997, the 1980s era of welcoming post-colonial ‘difference’ had been replaced by an unease that postcolonial writers, rather than being marginal ‘others,’ had become the shrewd profiteers of a global economy. The rhetoric of globalisation since the mid-1990s has increasingly situated the post-colonial writer as beneficiary (and not always an inadvertent one) of the global market-place rather than as the under-represented, under-taught, noncanonical ‘other’ who must be studied if only under the rubric of Fredric Jameson’s well-intentioned ‘national allegories’.

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Porscha Fermanis

ideological underpinnings. If, as Fredric Jameson argues, the utopia is primarily a by-product of modernity, periodically reemerging during times of political and social crisis, then it is fundamentally centered on the negative aspects of industrial and late

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Embodied Vibrations

Disastrous Mobilities in Relocation from the Christchurch Earthquakes, Aotearoa New Zealand

Gail Adams-Hutcheson

vibration came close to overwhelming my senses. I attended the Association of American Geographers’ (AAG) conference in Los Angeles in 2013, housed in Fredric Jameson and Ed Soja’s “curiously incomprehensible” Westin Bonaventure. 60 While attending

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Alex Link

typical of postmodernity for Fredric Jameson, for whom individuals living within its complexity must look for a ‘flash of historical understanding’ somewhere in the ‘recombination of separate columns in the newspaper’. 77 The New Frontiersman ’s

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‘The Inexhaustible Surface of Things’

Stefano Tamburini's Comic Book Work

Simone Castaldi

Fredric Jameson, 15 is the postmodern discourse par excellence: Mariani's paintings, with his displacement of hyperrealist and neoclassical suggestions; Marco Lodola's flat sculptures, conjugating futurism and pop art; Eco's Il Nome della rosa, part

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After dispossession

Ethnographic approaches to neoliberalization

Oscar Salemink and Mattias Borg Rasmussen

dispossession triggers acts of repossession of values, and consequently, that suffering, too, entails forms of agency predicated on altered subjectivities. In a parallel analysis of postmodernism as the “cultural logic of late capitalism,” Fredric Jameson (1991

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Dis-orienting Western Knowledge

Coloniality, Curriculum and Crisis

Zeus Leonardo

‘teaching’ or ‘instruction’, certainly ‘curriculum’ would be a logical descriptor for many. Although periodizing is always difficult, Fredric Jameson (1988) reminds us that it is a necessary, even stubborn, exercise. The curriculum field was arguably

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Daniel M. Knight

overturning of the condition of abandonment – the ordinary relation of law to life, manifested through a bloody nexus of sovereign violence and biopolitics (see also Palumbo 2016) . 6 Similarly, Fredric Jameson argues that the present demands ‘archaeologies

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Searching for the Young Soul Rebels

On Writing, New Wave, and the Ends of Cultural Studies

Richard Langston

of references to Fredric Jameson and Slavoj Žižek and allegiances with critical race theory and queer studies. It was as if only the language of Cultural Studies could ensconce critique once and for all in a bastion impervious to the wilds of popular