146 (July-August): 59 - 92. Postmodernism, or, The cultural logic of late capitalism | Fredric Jameson. and is known in general as a publisher willing to take chances with nontraditional New German Critique, no. Chapter 4. magnitude of the journals program within the Press is unique among American Disappearance of the individual subject The "death" of the subject itself -- the end of the autonomous bourgeois monad or ego or individual -- and the accompanying stress, whether as some new moral ideal or as empirical description, on the decentering of that formerly centered subject or psyche. The enumeration of what follows then at once becomes empirical, chaotic, and heterogeneous: Andy Warhol and pop art, but also photorealism, and beyond it, the ‘new expressionism’; the moment, in music, of John Cage, but also the synthesis of classical and ‘popular’ styles found in composers like Phil Glass and Terry Riley, and also punk and new wave rock (the Beatles and the Stones now standing as the high-modernist moment of that more recent and rapidly evolving tradition); in film, Godard, post-Godard and experimental cinema and video, but also a whole new type of commercial film (about which more below); Burroughs, Pynchon, or Ishmael Reed, on the one hand, and the French nouveau roman and its succession on the other, along with alarming new kinds of literary criticism, based on some new aesthetic of textuality or écriture . Each issue breaks new ground in the debates about postcolonialism, postmodernism, and popular culture. High modernism is thus credited with the destruction of the fabric of the traditional city and of its older neighbourhood culture (by way of the radical disjunction of the new Utopian high-modernist building from its surrounding context); while the prophetic elitism and authoritarianism of the modern movement are remorselessly denounced in the imperious gesture of the charismatic Master. This item is part of JSTOR collection The postmodernisms have in fact been fascinated precisely by this whole ‘degraded’ landscape of schlock and kitsch, of tv series and Readers’ Digest culture, of advertising and motels, of the late show and the grade-B Hollywood film, of so-called paraliterature with its airport paperback categories of the gothic and the romance, the popular biography, the murder mystery and sciencefiction or fantasy novel: materials they no longer simply ‘quote’, as a Joyce or a Mahler might have done, but incorporate into their very substance. I have argued elsewhere that all isolated or discrete cultural analysis always involves a buried or repressed theory of historical periodization; in any case, the conception of the ‘genealogy’ largely lays to rest traditional theoretical worries about so-called linear history, theories of ‘stages’, and teleological historiography. Social Text It will be argued here that a mutation in the sphere of culture has rendered such attitudes archaic. The book began as a 1984 article in the More decisively than in the other arts or media, postmodernist positions in architecture have been inseparable from an implacable critique of architectural high modernism and of the so-called International Style (Frank Lloyd Wright, Le Corbusier, Mies), where formal criticism and analysis (of the high-modernist transformation of the building into a virtual sculpture, or monumental ‘duck’, as Robert Venturi puts it) are at one with reconsiderations on the level of urbanism and of the aesthetic institution. 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