Through the works of The Cultural Turn, Singular Modernity and “Postmodernism, or the Logical Culture of Late Capitalism”, Fredric Jameson provides an account of how postmodernism can be seen and understood. Jameson defines postmodernism as the cultural logic of modern capitalism, or the cultural part of what he calls today multinational capitalism, referring to postmodernism as a phenomenon of Western society, especially American culture. The cultural expression of postmodernism is most visible through the realms of aesthetics, not limited to art, music, literature, and poetry. Of these expressions, poetry was slower to receive attention from the very thoughts that poetry provokes in people. Poetry has traditionally been a concept that commemorates difficult lines that contain great depth and deep meaning. For it was poetry in the past that required a strict interpretation and a strict reading in order to grasp the deeper meaning of the writing. In the realm of modern poetry, the poetry that is considered to be masterpieces of high art was the one that contained a complex and complex expression of mystery. literary effects and developed forms. Although the most recent poets did not completely abandon the use of literary academies and traditional metrical forms, they removed the poetic reading. from the modern reminders of a high poetic culture and the greater purpose of discovering the message.
Literary critic and theorist Fredric Jameson argues that postmodernism should be understood as a product of changes in contemporary society and culture. the whole It is about the fact that Postmodernism does not refer to mere trends or style, but involves the idea of the emergence of a new culture, social life and economic order in more recent times. A Marxian, Jameson recognizes the foundation of postmodernity in the economics of late capitalism, which arose after World War. . Jameson anchors his argument for Postmodernism as a true cultural logic, while emphasizing today that the economic power of multinational capital drives the multiplication, expansion and diversification of the social structure, so that the most modern society is no longer a unified subject. Therefore, modernity, when the foundations of absolute truth and reason have been illuminated, can no longer be used to illuminate and understand the world. Today’s thinking can only be used to define a linear society, and therefore cannot be applied to the new society of perpetual webs. It is no longer necessary to create something new or to concentrate on a well-defined subject, but to obtain new perspectives and a sense of decentralization in the way of writing and focus. This approach to modern poetry is consistent with Jameson’s idea of popular aesthetics, in which there is no space between popular culture or low modernist and high modern culture. Modern culture is one in which the predominance of popular culture has led to the abolition of boundaries and the modern concept of high art. Jameson sees this change as the dissolution and deconstruction of the class divisions of modernist society. Furthermore, modern poetry has become more self-reflective in its focus on language itself and its relationship to reality. These ideas are consistent with Frederic Jameson’s idea that there is a modern culture in which members of society are constantly searching for their identities and positions in a world that has progressed through a historical discontinuity and in which the subject is dead.
The most important poet of recent times is John Ashbery, whose poems show examples of the need for creativity rather than formal production and to discover a rigid plan. John Ashbery’s poems seem uncertain and inconsistent in tone, and appear to be fragmented in irrational syntax and form. Ashbery uses grammar and punctuation that makes his poems read as if he wrote verse in a stream-of-consciousness style. Despite the run-in lines and sometimes abrupt endings, however, Ashbery’s poem remains lyrical and rhythmic, which further adds to the lyrical nature of his poetry. At first glance, Ashbery’s poems seem to contain random thoughts interspersed in a clumsy way, much like an abstract picture made of words. Interestingly, the ideas about the course of his poems begin to build on each other and lead to more questions and ideas. Unlike modern poets who have brought clarity and a definite answer to the reader, Ashbery takes the reader through a transitory journey of contradictory questions and propositions that lead to no definite answer. In modern poetry, the reader often finds that the full work comes after the intended subject. There is no such logical system of modern poetry, which begins in one place and ends in another, because the creation and reading of poetry is an experience that is learned. One of Ashbery’s most famous works is “Spe-Portrait in a Convex Mirror”, which explores the discovery of identity and highlights the issues of perception and expressing truth and reality.
John Ashbery’s 1975 poem begins and continues after the creation of Parmigianini’s 1523 painting “Self-Portrait in a Convex Mirror.” Ashbery, while heavily involved in the arts, is uniquely known for his process of painting and art creation. In his poem “Self-Portrait in a Convex Mirror,” Ashbery combines poetry with the art of visual painting in an innovative form of expression. Jameson highlighted the combination of forms of aesthetic expression as a hallmark of postmodernism, in which boundaries and genres become diverse. In his visual poem, Ashbery takes the reader through a dream-like sequence through Francis’s creative and though processes. In doing so, Ashbery also walks through his creative process as he writes a poem. Similarly, the reader follows the creative process and artists’ encounters with problematic representation. This is characteristic of modern poetry, which should make the reader more like a writer than a reader, to experience the art rather than working to study a perfect masterpiece from afar. In the poem, Ashbery gives the reader the details of how Parmigianino sat with the intention of painting a self-portrait, including the steps of a precise angle, thinking about how the painter in the section of the wooden sphere expressed the exact dimensions and shapes It is important to note the distinct shape of the mirror and the picture, which is much more complex and dynamic than the two-dimensional surface of the mirror and the picture excludes what is inside This further emphasizes how the representation cannot be completed at any point. The perfection and consistency of the painted group can be contrasted with reality, in which there are no such ideals. This contributes to what Ashbery refers to as the problem of pathos. The feelings and emotions that the qualities of art can evoke can reflect and represent the things themselves, but they can never really be experienced in the same way. because the convex nature of the mirror twists the image of the object. Looking at Parmigianini’s painting, one can see the wrong proportion of the artist’s self-portrait, with a particularly noticeable enlarged hand. This is the key to the paradox of the self-portrait in the painting. The artist reaches beyond the world of art but cannot reach art and reality. The painting presents a whole world separate from the world of things, another universe. When looking at art and self-portraits, people can become a reflection of reality in the mirror. If the reflection of things is indeed another universe, the image that is reflected must be another form of the self that exists in the natural world. Thus, the self-portrait gives the reader the paradoxical sense of discovering a world that can be considered to be different and yet inseparable from the world of things.
There is also a great emphasis on glass, which is a place of reflection on the subject in the painting process. After the painting is done, there will be an image of the reflection reflected in the mirror, which is the image of the subject. Art is the reflection of essence. This raises the question of how art can truly represent reality if it is only a reflection of reflection and whether it can truly express reality by representing only the surface. In the past, writers and artists used poetry and art to explain the meanings of the plates in an attempt to achieve truth. Modern poetry, on the other hand, reveals the limits of meaning and challenges conventional concepts of beauty and depth in art. In postmodernism, Jameson emphasizes a sense of depth that manifests itself through qualitative superficiality. Postmodernism rejects the belief that one can fully move beyond the surface appearances of ideology or false consciousness in order to reach some deeper truth. But as in art representations, there are many surfaces of things, but no depth. Ashbery further emphasizes this superficial physicality, focusing on the simple physical environment around the artist and himself rather than drawing from large world images or intricate settings.
Ashbery forms interrelationships between various objects art throughout the poem including supplies and Parmigiani’s tools and his paintings, the cabinet; pamphlets and books. Connecting these physical objects and the community of the group, Ashbery distinguishes the physical from the artistic, showing how they connect and affect each other. Ashbery’s descriptions of the surroundings infused with colors visual painting forms, for the reader and further poetic techniques and painting.
In Ashbery’s poem, there is a struggle between what is on the surface and what is outside. It is the convex surface of the mirror that determines how the image is reflected, and similarly the surface image that is reflected determines what is interpreted to be true. But the soul, according to Ashbery, is captured, and is not allowed to progress beyond superficial consideration. Because of this, the surface of superficial representations can never be fully authentic. And because society lives in this dimension, it cannot in any way move beyond the surface and see above what is on the outer surface. Just as the body holds and entraps the soul, the painting also seems to keep the soul captive, so that it cannot express it beyond the image. Ashbery constantly brings the reader’s attention to the hand of the artist, as he creates art and tries to extend himself beyond the world, but fails to paint. This image proposes that no work should exceed the mode of representation because of the way in which the artist exists, in which life is “wrapped up”. It is certain that the visible surface is the core but there is no way to describe it, just as there is no way to affirm the representations. Ashbery juxtaposes the stability of the global picture with the instability of the global world and emphasizes that there is no question of pathos against experience and no way of asserting any truths.
At the end of this poem, Ashbery abruptly bursts the bubble that the reader thinks of when he pops into the balloon and begins to narrate the poem in the first person in the first voice. In this way, Ashbery is able to directly address the reader and adds personal interjections that add an immediacy to the poem. Almost as if he had been awakened from sleep and appeared in a bubble, the second part of the poem discusses dreams and the matter of winning them. Ashbery proposes that there is a kind of surreal relationship between art and dreams, in which dreams create beauty and distort visions of reality. However, Ashbery makes peace with the role of dreams in living, positing that dreams exist and that life is really a codification of dreams. In discussing dreams, Ashbery again mentions that Parmigianini’s self-portrait is almost intact. As Ashbery covered and writing from dreams and dimensions of consciousness in the poem, he constantly enters the process of making a self-image, showing the simultaneity of the two artistic processes. Although the two artists work at very different times in very different places, there is still something that the two share in their art. Ashbery tells the reader that he was immediately in New York but saw the painting completed in Vienna in 1959 after it had completed 100 years in Rome. Furthermore, Ashbery establishes the space of the modern world by touching upon the spaces of the modern city and its collapse into the indeterminate spaces of the suburbs. Today’s globalized world seriously undermines the meaning of historicity and Ashbery emphasizes that artists use space to connect space-time. This concept is critical to the understanding of the recent emergence of Jacob’s culture, which is based on a consumer society that constantly lives in the present with a limited sense of history due to the decline of time. While modernism is concerned with time and the temporal, postmodernism is concerned with the notion of space and the power of locality and organization and design. This last concept of space includes not only the traditional concept of physical space, but also the abstract space between the past and the present, and the categorical space used by the modern to departmentalize and separate the forms and levels of everything that belongs to society, including aesthetics. economy and politics. Time is no longer the focus and therefore the present social system is the most modern one in which history plays no role.
Through the dream, Ashbery reads to this day. In the verses discussed, Ashbery emphasizes the uniqueness of the present age, and that no previous day has been like today. There is no meaning in the past, because you cannot live there, according to Ashbery. The abstract concept of time is represented by Ashbery as he explores the various levels of the museum, where the history and secrets of the past are reduced to black and white illustrations and sculptures. According to Ashbery, it is not necessary to recognize the past in order to recognize the present, and so he asks why it is necessary to recognize the existence of the past. The present tense is undivided and has a logical justification. But as with the past, the present has a way of transforming itself into a caricature of itself, just as representation in art departs from the original intentions of the artist because of the pure principle of representation. Ashbery likens the deviation of the production of art from the artist’s intentions to a game in which a whisper is transformed once it has passed around the room. These words interfere with Ashbery’s life, because extraneous things are allowed to intervene, change, and tear apart the common daily life. While Ashbery writes history with a sense of nostalgia, this is just that. Apart from nostalgia, it is almost impossible to reconcile the past with the present. This problem was addressed by Jameson, who believed that historicism is a crisis that revolves around the problem of integrating time and temporality into a culture that is increasingly dominated by spatial and spatial aspects. The very idea of plot moves beyond the linear order of past and future and as Ashbery’s short poem points out, current culture is one full of heterogeneous fragments. past, present and future, which makes no sense in the linear context of time.
The last stanza of Ashbery’s poem is the most poignant and the most hopeful of all the lines in the work. Despite the inability to solve problems of representation and time, Ashbery established that, because man is not given to anyone. instruments by which he can understand himself and his world, it is necessary for him to understand the universe through what is outside himself. Man could live in Eden, but he was not destined to do so. Life on earth can be the first step to understanding and achieving a sense of tranquility and peace with existence. But Ashbery emphasizes that this is only the first step. Man must move on from the present. In the last lines of the poem, Ashbery seems to be speaking from a source of frustration with the slowness of change and the still constrained nature of discovery. Fredric Jameson’s discussion of postmodernity arises from less vanity than Ashbery’s, but participates in the same hope at this time. Jameson’s articulation of postmodernism demonstrates that time is indeed an empirical chaos that is largely incomprehensible. Jameson himself points out that postmodernism can never be fully defined and understood, as it is based on the idea of an immanent and open indeterminacy, rather than a definite termination of modernism. However, in an attempt to understand these concepts, it is possible to form what Jameson calls a global cognitive map, which a person can then use to navigate through various cultural tracts and perhaps gain a greater sense of position in the local organization. complex modern world.
John Ashbery’s “Self-Portrait in a Convex Mirror” is a recent poem that can be interpreted in many ways, as the picture could be seen in different light and from different perspectives. The analysis of the poem is on a more superficial level than in modern poetry, because much of the poem’s end is the art of writing itself. It is impossible to prove any interpretation of the poem as true and false, and the reader must fully consider the lack of reason in art. But the concept of the writer as an artist and the writing of fiction as an art, above explaining the indeterminacy of reality. Modern poetry allows the reader to assume the role of the artist and create the subject rather than trying to discover the author’s meaning. In this way, the most recent poems provide yet another perspective through which the world can be viewed and understood.
