Postmodern montage delegitimizes conceptual transcendence in favor of immanence

Evidence

But in Godard the status of those “ideas” seems to have become as undecidable as those of the New Historicism (power, the Other, value), something which at least suggests that we have to do here not with mere personal choices or inclinations on the part of the individual authors in question but with some more general historical situation and dilemma for which conceptual positions as such (what we have been calling discursive “transcendence”) are delegitimized and discredited by the more general movement toward immanence or what Adorno called nominalism. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 437

Categorization

• DEFINE: Defines the immanence/transcendence axis as the historical dilemma behind New Historicism and Godard’s undecidable ‘ideas’.
• XREF: Ties to the reader’s core task of periodizing style: the economic logic of late capitalism appearing as the cultural dominant of immanence/nominalism. — connects to: Postmodern art severs images from meaning into random nonrelational fragments — Alex Callinicos, Against Postmodernism: A Marxist…, 67; Technical perfection in postmodern film substitutes tactical values for meaning. — Jean Baudrillard, Simulacra and Simulation, 165; Collage and montage serve as the primary form of postmodern discourse. — David Harvey, The Condition of Postmodernity: An…, 346 (+1 more)