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Fredric Jameson
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Brecht and Method ペーパーバック – 2000/5/1

英語版 Fredric Jameson (著)
4.1 5つ星のうち4.1 6個の評価
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Brecht and Method (Radical Thinkers)
Brecht and Method (Radical Thinkers)
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“In his analysis of Brecht, Jameson forgoes the sort of chronological representation of Brecht in his various ‘stages’ (the early Brecht, the political Brecht, the mature Brecht) that characterizes most analyses of his work and instead asks that we recognize the various layers of history, overlapping in time, not space, which ultimately constitute who we understand as ‘Brecht.’”—The Bookpress

“Jameson puts demands on the reader, requiring great effort just to keep up, but those who apply themselves will come away with new admiration for Brecht as artist and as thinker. Recommended.”—Choice

“It is a rich book, one that strikes out in many different directions at once ... perhaps the secret of Jameson’s greatness, like Brecht’s, is that he doesn’t adhere to his method too strictly.”—In These Times

“This book contains a highly recommendable, elegant dissection of Brecht’s method, from estrangements to allegory and beyond.”—Modern Drama
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  1. 本の長さ
    192ページ
  2. 言語
    英語
  3. 出版社
    Verso
  4. 発売日
    2000/5/1
  5. 寸法
    15.24 x 1.91 x 20.32 cm
  6. ISBN-10
    1859842496
  7. ISBN-13
    978-1859842492
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“Probably the most important cultural critic writing in English today ... it can truly be said that nothing cultural is alien to him.”—Colin MacCabe

“The most muscular of writers.”—Times Literary Supplement

著者について

Fredric Jameson is Distinguished Professor of Comparative Literature at Duke University. The author of numerous books, he has over the last three decades developed a richly nuanced vision of Western culture’s relation to political economy. He was a recipient of the 2008 Holberg International Memorial Prize. He is the author of many books, including Postmodernism, Or, The Cultural Logic of Late Capitalism, The Cultural Turn, A Singular Modernity, The Modernist Papers, Archaeologies of the Future, Brecht and Method, Ideologies of Theory, Valences of the Dialectic, The Hegel Variations and Representing Capital.

登録情報

  • 出版社 ‏ : ‎ Verso; New版 (2000/5/1)
  • 発売日 ‏ : ‎ 2000/5/1
  • 言語 ‏ : ‎ 英語
  • ペーパーバック ‏ : ‎ 192ページ
  • ISBN-10 ‏ : ‎ 1859842496
  • ISBN-13 ‏ : ‎ 978-1859842492
  • 寸法 ‏ : ‎ 15.24 x 1.91 x 20.32 cm
  • カスタマーレビュー:
    4.1 5つ星のうち4.1 6個の評価

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Fredric Jameson

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上位レビュー、対象国： 日本

imago
5つ星のうち5.0 ブレヒトの可能性
2002年9月3日に日本でレビュー済み
なんでブレヒトなのか？そこに解決策はあるのか？というのがこの本を手にした時の感想でした。でも、読んでみると確かにジェイムソンの問題意識とつながったもの（ペリーアンダーソンの指摘する「美」と「政治」の問題であったり、「物語」の終焉であったり・・・諸々）がそこに「提示」されてました。（明示はしてくれませんが）ふ～～んなるほど・・・なんて余裕のある読み方は出来ないけど、何かの糸口が（まさに「方法としてのブレヒト」ですね）つかめる・・・つかめそうな感触をもたせてくれそうな本です。
1人のお客様がこれが役に立ったと考えています
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Antonio Gomez
5つ星のうち5.0 great service
2022年2月16日にアメリカ合衆国でレビュー済み
Amazonで購入
the book arrived on time and it was in perfect conditions
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Douglas Robinson
5つ星のうち4.0 Jameson is always brilliant and useful, but ...
2005年12月30日にアメリカ合衆国でレビュー済み
Amazonで購入
Relatively accessible as this book is in Jameson's oeuvre--short, under 200 pages, 20 bite-sized chapters--it also has all the drawbacks of Jameson's usual dense thinking-out-loud style. His casual erudition is overwhelming, and he comes up with great idea after great idea; but because he's there in the room with you, wracking his brain for the next insight, what he does with his great ideas is uneven. Sometimes he reduces one to a list that belabors the obvious; other times he hits a deadend, and instead of backing off and rethinking and rewriting, he just burrows deeper. The book often has the feel of a Balzac or Dickens novel, scribbled hastily and torn page by page from his hands and rushed to the printer. There are odd errors that make Jameson sound like a non-native speaker of English: "That it might well be possible to reconcile both alternatives is illustrated by THE play like The Good Person of Szechuan." He provides Brecht's original German and an English translation for every quotation, often enough his own; when he borrows an existing translation, he often edits it without indicating that he has done so, often substantially, often strangely. For example, when Brecht writes "so m?ssen wir annehmen, dass wir hierbei an Interessen teilnehmen, die tats?chlich allgemein menschlich waren," and John Willett translates that as "we have to conclude that we are partaking in interests which really were universally human," Jameson tacitly changes that to: "we must suppose that in doing so we are sharing interests that are actually universally human." Some of those emendations are more or less synonymous (conclude>suppose, partake>share, really>actually), no big deal to change, but it IS ethical to indicate such editing; changing Brecht's past tense ("waren") to the present tense ("are actually universally human") is more problematic. Does Jameson really believe that Brecht believed that these interests ARE universally human? We could argue about what Brecht's tense shift (teilnehmen>waren) means, but at the very least it points to a complex temporal dynamic that Jameson either uncritically or puristically eliminates. He's also careless in typing Brecht's German into his book: in that same quote on p. 176, for example, he inserts "Arbeit" for "Art" in "Es findet da eine Verallgemeinerung interessantester Arbeit [should be Art] statt." Each of these cases is fairly minor, but such cases are everywhere, and the cumulative effect is (for me, anyway) to undermine Jameson's credibility.

The biggest problem for me in the book, though, is that Jameson's odd eclectic form of structuralist Marxism seems ill-suited to Brecht's theory and practice of theater. He argues, for example, that Brecht rejected empathy because empathetic identification simply never happens, doesn't exist: "`third-person acting' ... is the result of a radical absence of the self, or at least the coming to terms with a realization that what we call our `self' is itself an object for consciousness, not our consciousness itself: it is a foreign body within an impersonal consciousness, which we try to manipulate in such a way as to lend some warmth and personalization to the matter." This isn't Brecht; this is Jameson's Prison-House of Language, the dogmas of depersonalized death-of-the-subject structuralism. And Jameson doesn't even bother to develop the point out of Brecht--to read it out of some early dismissive remark about emotion and reason (plays "ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood. Feelings are private and limited. Against that the reason is fairly comprehensive and to be relied on"); he just states it as a bare fact, and uses it to impose a Greimasian model on Brecht. Brecht himself moved from a complete rejection of empathetic/emotional appeal, through various middle stages, to a reluctant willingness to oscillate between empathetic and estranging appeals, to a recognition that even estrangement is a form of empathetic or "infectious" appeal--something that, needless to say, Jameson never mentions.

One last point: in his review on this page, Martin Carrillo calls Jameson's book "the first serious attempt since Benjamin, to interpret the methodology of one of the more important playwrights and formal experimenters of our century." This is absurd, unless what he means is "the first serious attempt by a scholar lionized by current thought." There is a whole Brecht industry interpreting his methodology, and it is very serious. And while it may not have the clout of a Benjamin or a Jameson, it's often far more solidly grounded in the study of Brecht, his theories, his plays, his influences, and his reception, than either Benjamin or Jameson.
27人のお客様がこれが役に立ったと考えています
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sm
5つ星のうち2.0 Editor needed
2009年7月16日にアメリカ合衆国でレビュー済み
Amazonで購入
Jameson's recent writing is very uneven, earlier writings seem more focused and thought through. I wouldn't reccommend this book to anyone interested in interpretations of Brecht--go back to Benjamin if you want that or look at the debates in the 1980s in the journal Screen. This book doesn't seem to add much that is new to the established literature that I can fathom. It is rambling, kind of stream of consciousness style, with some interesting insights here and there but no sustained argument or clear point of differentiation.
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red ed soc
5つ星のうち4.0 Know your Jameson
2022年3月28日にアメリカ合衆国でレビュー済み
Amazonで購入
I think it'd be much more helpful to know more of Jameson's work to understand this book. Although it makes sense on it's own, I couldn't help but thinking how much more discerning it would be if I knew all of Jameson's references.
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