- Hi Nick,
Is by any Chance your last name Carraway ? No ? A pity for you could have help in a important issue, namely whether Mr Carraway was Scott-Fitzgerald.
Movement missing ?
In painting of course, except of course if or when you throw away a painting, but the movement is not within the painting but seizing the painting!
To capture the movement in a painting. Easy: you paint a Ferrari.
More seriously: does the esthetic always miss the movement in its representation ?
Well, what about music, theater and finally, cinema.
I have seen a very moving film tonight...
What is missing in the aesthetical if anything would rather be that the moved is not the real but the possible. And again, not
In the Diary, the ultimate figure of the aesthetic is depicted as one who brings his aesthetism into reality.
Johannes is really operating seduction. He has made of his life his work of art. I think a closely neighboring case of reality is Oscar Wilde. See Johannes is not really interested in the possibility. He is interested in making the possibility's possibility a reality.
Thus those who argue that aesthetism in K is by necessity deprived of reflection or of reality seem to oversimplify the aesthetic and overlook the marvolous pages of the papers of A.
Now I think Don is closer to what is at stake in Either Or, by having properly understood the either...
What's missing in the aesthetic picture then ?
Could it be commitment to the task ?
No, I don't think so. Mozart was very committed in his music, Mephisto in getting his eternal life and Johannes in bringing his conception of aesthetism to a climax.
Now could it be that their commitment was not to the essential which is their own identity. I think it's warming up. Still...
Still Mozart's identity is in his music as Don Juan's is in his relentless seductions (the quantity), Mefisto's was in his seek for eternal life in time, and Johannes' was in transforming his conquest into a perfect and singular work of art.
According to my incomplete and young reading of K, the missing factor, the desperate character is coming from the element of outwardness which "infects" their defining principle. All these characters have at the center of their personalities a motive which is something outside of themselves: Mozart's is the music, Mefisto's is the fear of death, Johannes' is the work of art in that that the conquest has to be in the real to be the ultimate work of art.
So what's missing perhaps is detachment. The suspension of the relation to the world to find one's own dear inward reality. Detachment from the world's vanities, and self recollection in the supreme and extactic introspection.
That the inward movement implies an imagination of one's self as disconnected of the world in the moment, in the introspective blink of the eye might be disputed as the irreducible amount of aesthetism (understood as a capacity of imagination) at the bottom of the ethical subjectivity, the prime quantum of real poetry in art of God, the 7 of heaven, but nevermind this rock exception, for the aesthetism has to a part the ethical as well if all the beauty of this world should not be condemned as vain for unethical. It has to return as the relative as Mr Anderson suggested and to do so it has to be part of the ethical subject as well, only this time for what it is: the relative.
There is something about the effort in B, I don't really understand. But I am not yet really in B. Sometimes I am dreaming I can represent faithfully what B is, but then my ultimate problem is that every representation is a representation. No matter which style is applied, no matter which technique, which artifice is used the representation of choice is not a choice, the representation of a commitment is not a commitment, the representation of a lasting is not a lasting. It is only a representation.
This -is- the damnation of the poet who has a sense of the religious. But here I really anticipate for the religious, in Either Or comes at the very very end, when precisely it is not written, only suggested. Fortunately for me the Religious is also the premier, the original, the prime, the first, so that even in his damnation the poet may be conscious of the religious for his damnation is the expression of his misrelation to himself and to God. If God there is.
This is the truth, the only truth, the whole truth.
Understand who may,
A sudden burst of inspiration
in a neophyte
Jeffrey Burns, &...
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