Mimesis, Expression, Construction brings to the forefront Fredric Jameson’s esteemed seminar on Theodor W. Adorno’s Aesthetic Theory, held at Duke University in 2003. This publication marks the first appearance in print of Jameson’s comprehensive engagement with Adorno’s complex and seminal treatise on modernist aesthetics. Painstakingly transcribed and edited from audio recordings by Octavian Esanu, this work not only captures the intellectual rigor and pedagogic finesse of Jameson but also immerses readers in the rich, dynamic atmosphere of his classroom.
As the inaugural and exclusive record of Jameson’s pedagogical approach, this volume transcends academic discourse, going into modern and modernist aesthetics through the lenses of pivotal thinkers such as Kant, Hegel, Freud, Schopenhauer, and Nietzsche. Jameson’s exploration extends to the profound influences of the Frankfurt School, embodied by figures like Walter Benjamin, and encompasses an eclectic array of artistic expressions. These include the literary brilliance of Thomas Mann and Samuel Beckett, the avant-garde compositions of Schoenberg, Webern, and Berg, and the revolutionary cinema of Chaplin, Vertov, and Eisenstein.
Presented in an innovative format akin to a theatrical play, Mimesis, Expression, Construction includes a detailed stage setting, student interruptions, exchanges, and ambient sounds, all meticulously rendered to recreate the seminar’s vibrant environment. This unique presentation is augmented by scans of students’ notes, providing an authentic glimpse into the interactive and often improvisational nature of Jameson’s teaching.
Jameson’s seminar, much like Adorno’s own lectures, operates at the intersection of theory and praxis, where the act of teaching becomes a performative exploration of ideas. The inclusion of secondary topics and digressions enriches the primary discourse, offering invaluable insights into the nuances of Jameson’s thought process and his engagement with Adorno’s text. The result is a work that not only documents but also embodies the very principles of mimesis, expression, and construction that are central to Adorno’s aesthetic philosophy.
Jameson’s discussions traverse an expansive intellectual terrain, addressing the aesthetic implications of psychoanalysis and biblical exegesis, and interrogating the relationship between art and society. His dialectical method, characterized by an oscillation between the subjective and objective dimensions of art, mirrors Adorno’s own approach, underscoring the unresolved tensions within modernist aesthetics.
The historical and structural dimensions of art are laid bare as Jameson navigates through the diachronic and synchronic axes of cultural analysis. His reflections on the transformation of high modernist aesthetics into the postmodern condition reveal a nuanced understanding of cultural production under late capitalism, a theme he elaborates upon in works such as Postmodernism, or, The Cultural Logic of Late Capitalism.
The book serves as both a historical document and a theoretical artifact, capturing the essence of a pivotal moment in the study of modernist aesthetics. It provides a rare opportunity to witness the intellectual labour and spontaneous thought that characterize Jameson’s seminars, offering scholars and students alike a profound engagement with one of the most influential cultural critics of our time.
The book’s innovative format, reminiscent of Samuel Beckett’s Krapp’s Last Tape, alongside its use of closed-captioning, reflects Jameson’s own theoretical preoccupations with the fragmented nature of human speech and representation. This fragmentation, central to the aesthetics of modernism, is faithfully preserved in the transcription, conveying the authenticity and immediacy of the original seminar experience.
In this meticulously crafted volume, Esanu’s editorial choices highlight the interplay of form and content, mimicking the dialectical processes at the heart of Adorno’s and Jameson’s thought. The inclusion of ambient classroom sounds and student interactions further situates the reader within the lived experience of the seminar, transforming the act of reading into a participatory and immersive encounter with the text.
Endorsed by contemporary intellectuals such as T.J. Clark and Slavoj Žižek, Mimesis, Expression, Construction is hailed as a groundbreaking contribution to the field of cultural criticism. It stands as a testament to Jameson’s enduring legacy and his profound impact on the study of aesthetics, offering a rich, multifaceted exploration of art, theory, and the dynamics of modernist culture.
Fredric Jameson, born April 14, 1934, is a preeminent American literary critic, philosopher, and Marxist political theorist. Holding the prestigious position of Knut Schmidt-Nielsen Professor of Comparative Literature and Romance Studies at Duke University, Jameson has made significant contributions to critical theory. His influential works include Marxism and Form, The Political Unconscious: Narrative as a Socially Symbolic Act, Postmodernism, or, The Cultural Logic of Late Capitalism, A Singular Modernity, Valences of the Dialectic, and The Antinomies of Realism.
Octavian Esanu, an associate professor in the Department of Fine Arts and Art History and Director/Curator of the American University of Beirut Art Galleries, is the author of several works on art and modernity. His meticulous transcription and editorial work on Mimesis, Expression, Construction bring Jameson’s seminal seminar to a wider audience, preserving its intellectual and pedagogical richness for future generations.
Simon Gros 
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