By Allan Johnson
Alan Hollinghurst and the power of effect proposes a amazing strategy for studying the affects that interlace twentieth-century homosexual British writers. targeting the position of the textual photo in literary impression, this e-book strikes towards a brand new realizing of the interpenetration of literary and visible tradition within the 20th century.
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Extra info for Alan Hollinghurst and the Vitality of Influence
Sample text
The Kabbalistic elements in Bloom’s criticism (most notably the arcane schematism of the concentric Ratios of Revision) presupposes an uncanny, even numinous factor in the transmission of influence. What it equally insists, however, is in the certain physical presence of the author, identified by his extension into immortality. For both Bloom and Eliot, an understanding of influence has been founded on an accepted if flexible tradition of texts, through which later writers can mobilize their own accounts and predilections.
It is strange to be a film director, for work unmade is lost. If these had been plays, and I a playwright they would be considered if not performed. Well, Akenaten was quite a success. It got good reviews and looked stunning. David Bowie’s performance [in the title role] was enigmatic and it managed to eschew bombast. The dialogue, though rather poetic somehow fitted the subject, it never stilted. 35 There is an intriguing complication in Jarman’s recourse to a fancifully successful Akenaten. Were the film to have been made, it would have been his first feature-length work, and present an opening to his career that was ‘controlled, unlike Sebastiane’.
His virtues are not real to him. His sins, if there are such things as sins, are borrowed. 46 For Bloom, passages such as this reflect the anxiety that created and perpetuated Wilde’s refusal to wrestle with the dead. However, the trope of influence within the narrative of Dorian Gray brings interpretative difficulties that remain virtually unresolved. Dorian Gray’s own demise appears, at first, to offer a confident report on the relationship between influence and aesthetics: yes, all influence is immoral, and, yes, all aesthetic taste is based on influential persuasion, so therefore all aesthetic taste is immoral.
