En nombre de un ataque a las nociones de «totalidad» e «identidad», un gran número de teóricos contemporáneos se ocuparon de echar los proyectos utópicos y dialécticos del marxismo por el desagüe del posmodernismo y la «pospolítica». Un caso paradigmático es el de la interpretación reciente de uno de los más grandes filósofos del siglo XX, Theodor Adorno. En

Marxismo tardío,

Fredric Jameson se aparta de esas tendencias, intenta documentar las contribuciones de Adorno al marxismo contemporáneo y propone una lectura radicalmente diferente de su trabajo, en especial de sus obras más importantes en el campo de la filosofía y de la estética:

Dialéctica del Iluminismo,

Dialéctica negativa y

Teoría estética. El énfasis que Adorno pone en la presencia del capitalismo tardío como una totalidad dentro de las formas mismas de nuestros conceptos o de las obras de arte lo vuelve el modelo dialéctico por excelencia para nuestro tiempo. Así, sostiene Jameson: «Ningún otro teórico marxista puso nunca en escena esta relación entre lo universal y lo particular, el sistema y el detalle, con semejante atención, intensa y abarcadora». Además de realizar un estudio pormenorizado de la obra de Adorno y probar su actualidad, Jameson transmite en estas páginas el mensaje adorniano de celebración de la dialéctica en cuanto tal, para lo cual lleva a cabo un análisis sincrónico del corpus, que reconstruye el sistema del filósofo alemán con minuciosidad y hasta devoción. En estas páginas, a las que

The Nation llamó el estudio filosófico más sofisticado que se haya publicado sobre Adorno alguna vez en Estados Unidos, resuena por su lucidez la escritura del propio Adorno, a cuya inteligencia crítica y utópica Jameson se mantiene fiel.

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