
Brecht and Method
Description
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Jameson sees Brecht's method as a multi-layered process of reflection and self-reflection, reference and self-reference, which tears open a gap for individuals to situate themselves historically, to think about themselves in the third person, and to use that self-projection in history as a basis for judgment. Emphasizing the themes of separation, distance, multiplicity, choice and contradiction in Brecht's entire corpus, Jameson's study engages in a dialogue with a cryptic work, unpublished in Brecht's lifetime, entitled Me-ti; Book of Twists and Turns. Jameson sees this text as key to understanding Brecht's critical reflections on dialectics and his orientally informed fascination with flow and flux, change and the non-eternal.
For Jameson, Brecht is not prescriptive but performative. His plays do not provide answers but attempt to show people how to perform the act of thinking, how to begin to search for answers themselves. Brecht represents the ceaselessness of transformation while at the same time alienating it, interrupting it, making it comprehensible by making it strange. And thereby, in breaking it up by analysis, the possibility emerges of its reconstitution under a new law.
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Content
- Cover Page
- Title Page
- Copyright Page
- Dedication
- Contents
- Prologue
- 1. Nützliches
- 2. Monadic Chronologies
- 3. Triangulating Brecht
- Part I: Doctrine/Lehre
- 4. Estrangements of the Estrangement-Effect
- 5. Autonomization
- 6. Episch, or, the Third Person
- 7. Dualities of the Subject
- 8. From Multiplicity to Contradiction
- Part II: Gestus
- 9. Pedagogy as Autoreferentiality
- 10. Parable
- 11. Grundgestus
- 12. Casus
- 13. Allegory
- Part III: Proverbs/Sprüche
- 14. Proverbs and Peasant History
- 15. Registers and Generic Discontinuities
- 16. Representability of Capitalism
- 17. 'Beinah'
- Epilogue
- 18. Modernity
- 19. Actuality
- 20. Historicity
- Notes
- Index
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