On 27/07/12 10:50, chris Jones wrote:
> The other thing I find is writing very privileged adolescent men as
> characters
I trust readers understand the position the eldest son of a grazier has
in Aust society, so I also find myself encountering this personal
position, according to my birth certificate and despite severe illness,
having the financial means to live on my own yacht, against an
autobiographical accusation of class privilege.
Now, this is where it gets tricky, I lived the life of that Emerson boy;
deliberately courting autobiography. This is another way that Aust
ficto-criticism goes about doing what it does.
It becomes hard to not invoke a Kantian immanent critique and I was
wondering what this could have in connection with Emerson, who I read is
more important as a theorist of US Romanticism and the American Romantic
landscape. The f64 landscape photography, also, as a manifestation of
this Romanticism. Now national differences seem to be introduced. There
seems also something which is nihilistic and specific to recent English
arts, eg, Last of England, Punk, and more interesting again a rebellion
against a postmodern dead-end which is not hostile to technology.
Another example, cross national, Penny Rimaud and Louise Elliott in
Montreal...
http://www.youtube.com/watch?v=kMT1rrl8FyU
or the Grand Union Orchestra, in London?
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