2 edition of Lord Byrons Don Juan found in the catalog.
|Statement||J. B. Smith|
|Publishers||J. B. Smith|
|The Physical Object|
|Pagination||xvi, 76 p. :|
|Number of Pages||90|
nodata File Size: 9MB.
To vaunt this partial immunity, this coolness, is of course to lose it. He thus sought—perhaps we can assess with how much success—an aesthetic-ethical solution not just to his own problem as celebrity, or that of the artist generally, but indeed potentially to that of any other self in the market world. Such culpably inexpert management, like impoliteness as opposed to mere gauche manners, betrays an insufficient underlying sincerity, an insufficient humility in the face of desire, thus betrays desire, and thus loses its audience.
Works of this Esthetic, he argues, do not empower or give their readers voice, but depict themselves caring for them in an explicitly hierarchical relation. The dark secret of postmodernism is that not only its axiology of liberation but its epistemology of unveiling are based on resentment.
A point also made by Hutcheon. Lord Byrons Don Juan Adeline, clearly, is a new version of that Byronic Hero, who has suffered, indeed is trapped in the suffering occasioned by the disability of her superior sensitivity.
Signs of Paradox: Irony, Resentment and Other Mimetic Structures Stanford: Stanford University Press, 199768. Such a modality can only be safe from resentment as long as the creator of the artwork really does remain out of range of rivalry. Or: how beautiful and sad is the transitoriness of feelings, and even more beautiful and sad to be their slave, and yet perhaps there is nothing more—except, possibly, the superiority of just this recognition, this anchoring ironical perception of what such people as Adeline and Byron pay, for all their beauty, for not being Lord Byrons Don Juan to stand back from desire and sincerity the way we can.
Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise. He innovated in the use of such irony both to disarm and defer resentment and, to the degree this succeeded, to open up a productive, mutually beneficial exchange with his audience, or with parts of it at least. But on the other, his readers may detect his acceptance of risk, of an indeterminate relationship with them. But such concessions are selective and provisional, and plummets from celebrity are as constant as their creation—if these are our gods, they are far from immortal.
His esthetic skills enable him to change the terms of the alliance as he changes his representations of the desirable self.