" I'd like to write in honor of Man,
but I wish that men do not touch what I write ."
J. Keats
[For any sort of clarification on the draft general reference to primitive sketch of the scheme as I wrote more than five months ago and his most recent and complete presentation .
As repeated, are about to read a trace theory, no claim to completeness. If you find it too complex, skip.]
rational analysis of the creative process plays a major role more or less gradual the gap between the individual and authoring the society in which he lives.
The negative connotation of the term "distinction" must be kept almost entirely in our survey, the phenomenon of separation is often experienced in more traumatic by the subject, which, while freely choosing to separate themselves from society, it is somehow forced to inner necessity *.
[* Formulation paradoxical only in appearance as well as our actions are not directly reducible to the body, we can not be considered outside of it. In this case, individual choice is and will remain free, despite results from a need - perhaps - organic.]
They can not come to mind initiation rites that come with the same human civilization: to be accepted as a member of a company (or, more simply, a group that identifies itself as such) the individual was isolated and left alone to face the test described *.
[* cf. Levi-Strauss, and Propp ]
The analogy, which at first may seem confusing, but we need to understand a fundamental difference.
In contrast to the initiation rite, established by the community and explicitly supported by the individual in order to be accepted and find a place within their own autonomous society of origin (that is, to integrate, to become one with the group and avoid loneliness), in the case of the artistic process, the end is the opposite.
is the individual who chooses freely to break away from former club to find its own subjective dimension. Expulsion is the precondition for the creation (or, more often, for restoration) of their own identity, which was in danger of being lost *.
[* Exemplifying: the poet does not write to be accepted by society. Its not an effort at rapprochement (see the quotation initial Keats and the examples are too numerous to be collected here), on the contrary, he writes to make a difference and attack the company, seeking a separate item.]
The emphasis must be placed on freedom inherent in this process. We're not talking about medieval cloisters or forced confinement, or the process is consumed in mountain hermitages or in the middle of a desert hermits. No, the removal from society is certainly figuratively, metaphorically ("I'm not like them ).
A suffocating socialization does not grant the individual the opportunity to cultivate, or if you prefer to create an fulfilling its social dimension and recognized. In addition to 'I
Social , man feels the need for a Individual I .
The crisis follows from the lack of a place in society, and rejection of it, may result in aversion and detachment of the individual, who chose to isolate themselves and reject their own time and space *.
[* The feeling of repulsion that arises from the refusal of their community (the more painful because it is always the "mother community", so to speak) explains many otherwise obscure and bizarre phenomena, such as the incredible amount of work satirical and controversies that fill our libraries. Difficult to find a volume that has at least a direct and explicit polemical goal or, more simply, not showing open hostility towards someone.]
could formulate a philosophical level, that the principle the distinction, necessary starting point for artistic, is the creation individual ego as well as the social self . The medium is the isolation of the individual figured by this company.
This departure, this discrimination or voluntary, is of paramount importance for the development of its own independent voice, necessary because of the narrative voice.
Artistic creation is based on a ongoing dialogue between the individual and society authoring in which he lives, because, in the absence of one or the other, there would be a work of art. The one (the artwork) is based on the other (companies) in a constant relationship of love and hate relationship so as to become inseparable itself condicio ontological art in itself.
[* What's more, the refusal by the company in some cases may even amplify the "creative power" - or artistic enthusiasm - of the subject.]
In turn, the dialogue implies the existence of two items. The principle of discrimination by ensuring the creation of a single voice and personnel necessary to artistic creation.
As Heraclitus guessed by now remote in time and confused, "the conflict ( Πόλεμος ) is the father of all things and all the king " father, because you have no life without conflict, one follows the other (I exist and occupy space, this space is necessarily removed to another area, is based on altering the identity), the king, because every human effort is directed from it (Every one of our most insignificant action is already perceived as confrontational, since it is based on choice - in other words: ultimatum ).
also and above all artistic creation - as the daughter of life - can not do without the conflict, and is based on it. We could call the principle of distinction, "the beginning of the conflict," if only it sounded terribly reactionary and decadent.
This also explains why the dimension of artistic creation can only be individual: it is the individual who chooses freely self-discrimination is the individual who must seek their own autonomy of expression, it is the individual that establishes the relationship of dialogue with society is the individual who raises his own biography in the raw material for creativity.
The last point in particular deserves further brief explanation.
If there is no doubt that no work of art can transcend individuality of the artist (we said that is a cause for the Arts Individual I), then it is equally true that biography is a privileged and powerful key to the work itself.
It is clear that the work is not the man: and child support would be incorrect. There is and there will always be a residue of the artist's personality that is masked by the words, colors, notes.
However, we are fully convinced that we can not forget, as the contrary would Cross, the existence of a real live person behind the work that we are, for example, reading.
values \u200b\u200bsuch as consistency , social engagement, the uncompromising defense of its principles, would be denied if we believed that the biography is totally different than the work *.
[* No, at this point can not be really compromise: the biography is an essential component to fully understand the motivations, choices, those stories that an author decides to treat, and you can not do without it in the study who has the claim to be philological. ]
But do not misunderstand the importance of the individual and his biography with a kind of praise individualism. Individualism follows the superfluity of the social dimension, as was already mentioned, it is necessary for dialogue, "I-Other."
The central figure of the Dialogue, after that of the conflict, the better we will analyze in the next intervention, when the dismissal of the individual you will study as part of the dialogic tradition itself, filtering the report, "I-Other."
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