In his 1977 “Afterword” to the volume Aesthetics and Politics, Jameson observed that it was not only political history that was condemned to repeat the past but also literary history that experienced a certain “return of the repressed”:
Nowhere has this return of the repressed been more dramatic than in the aesthetic conflict between “Realism” and “Modernism”, whose navigation and renegotiation is still unavoidable for us today, even though we may feel that each position is in some sense right and yet neither is any longer wholly acceptable.
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