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Sto caricando le informazioni... Monsters: A Fan's Dilemma (edizione 2023)di Claire Dederer (Autore)
Informazioni sull'operaMonsters: A Fan's Dilemma di Claire Dederer
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Famed composer Richard Wagner’s anti-Semitism was an obsession: "'[For Richard Wagner, anti-Semitism] was more than a bizarre peccadillo, beyond a prejudice: it was an obsession, a monomania, a full-blown neurosis. No conversation with Wagner ever occurred without a detour on the subject of Judaism. When, towards the end of Wagner's life, the painter Renoir had a sitting with him, Wagner interrupted his own pleasant flow of small talk with a sudden unprovoked denunciation of Jews which rapidly became rancid,' [said Simon Callow]. "Wagner also wrote at length about his obsession -- that essay Fry would have liked to forestall, 'Judaism in Music,' was published anonymously in 1850, the same year Lohengrin premiered. It describes the nature of 'the Jew musician' -- we've barely gotten started and we're already in choppy waters. The use of the word 'Jew' as an adjective is generally speaking not a good sign. My friend Alex Blumberg once observed to me as we walked through the Chicago neighborhood historically known as Jew Town: 'The word Jew is fine as a noun, starts to be a problem as an adjective, and is totally not okay as a verb.' "Writes Wagner, 'The Jew -- who, as everyone knows, has a God all to himself -- in ordinary life strikes us primarily by his outward appearance, which, no matter to what European nationality we belong, has something disagreeably foreign to that nationality: instinctively we wish to have nothing in common with a man who looks like that.' "Wagner is ramping up, working himself into a frenzy, and the modern reader in turn feels a mounting abhorrence, as well as a kind of lofty disdain for what we perceive as his cluelessness. But we tell ourselves he didn't know better. "And yet Wagner bases his entire rant on the fact that he did know better. He positions his screed as a dose of Limbaughesque real talk in the face of liberal platitudes calling for an end to anti-Semitism: 'We have to explain to ourselves the involuntary repellence possessed for us by the nature and personality of the Jews, so as to vindicate that instinctive dislike which we plainly recognise as stronger and more overpowering than our conscious zeal to rid ourselves thereof.' "He's making the point that he and his brethren don't want to revile Jews. This is some real 'I'm the victim here' shit. Wagner insists that he possesses -- we all possess -- a 'conscious zeal to rid ourselves' of the 'instinctive dislike,' but an honest man must wrestle with these feelings of 'involuntary repellence,' Hey, man, he's just describing how everyone really feels. Incidentally, this is an example of how insidious the word 'we' can be -- by employing it, Wagner normalizes and universalizes his own demented and hateful perspective, and suggests that all those fighting against anti-Semitism are simply deluded or evasive when it comes to their own natures. "From Wagner's perspective, to say one is not anti-Semitic is to lie: 'Even to-day we only purposely belie ourselves, in this regard, when we think it necessary to hold immoral and taboo all open proclamation of our natural repugnance against the Jewish nature. Only in quite the latest times do we seem to have reached an insight, that it is more rational (vernünftiger) to rid ourselves of that strenuous self-deception' -- he means here the self-deception that we actually might not be repelled by Jews -- 'so as quite soberly instead to view the object of our violent sympathy and bring ourselves to understand a repugnance still abiding with us in spite of all our Liberal bedazzlements.'" Premi e riconoscimentiMenzioniElenchi di rilievo
"In this unflinching, deeply personal book that expands on her instantly viral Paris Review essay, "What Do We Do With the Art of Monstrous Men?" Claire Dederer asks: Can we love the work of Hemingway, Polanski, Naipaul, Miles Davis, or Picasso? Should we love it? Does genius deserve special dispensation? Is male monstrosity the same as female monstrosity? Does art have a mandate to depict the darker elements of the psyche? And what happens if the artist stares too long into the abyss? She explores the audience's relationship with artists from Woody Allen to Michael Jackson, asking: How do we balance our undeniable sense of moral outrage with our equally undeniable love of the work? In a more troubling vein, she wonders if an artist needs to be a monster in order to create something great. And if an artist is also a mother, does one identity inexorably, and fatally, interrupt the other? Highly topical, morally wise, honest to the core, Monsters is certain to incite a conversation about whether and how we can separate artists from their art"-- Non sono state trovate descrizioni di biblioteche
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Dederer also discusses the broader cultural context in which these debates are taking place, noting the growing awareness of sexual harassment and assault in the entertainment industry and the political sphere. She acknowledges the emotional toll that revelations of misconduct can take on fans, particularly women who may see their own experiences reflected in the stories of abuse and exploitation that have come to light.
At the same time, Dederer acknowledges the importance of art and the role that it plays in our lives. She describes the power of art to connect us to our emotions and to give us a sense of meaning and purpose. She also recognizes the value of creative expression and the contributions that artists have made to our culture and society.
Ultimately, Dederer's essay raises important questions about the relationship between art and morality, and the responsibility of artists for their actions. It also highlights the difficult choices that fans must make when confronted with revelations of misconduct by their favorite artists.
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In "Monsters: A Fan's Dilemma", Dederer approfondisce la questione se sia possibile separare un artista dalla sua arte, in particolare quando la condotta personale dell'artista è in contrasto con il suo lavoro. Descrive la propria esperienza come fan di Woody Allen, i cui film le sono piaciuti per anni, ma la cui vita personale e le accuse di cattiva condotta sessuale l'hanno indotta a rivalutare il suo apprezzamento per il suo lavoro.
Dederer discute anche del contesto culturale più ampio in cui si svolgono questi dibattiti, rilevando la crescente consapevolezza delle molestie sessuali e delle aggressioni nell'industria dell'intrattenimento e nella sfera politica. Riconosce il costo emotivo che le rivelazioni di cattiva condotta possono assumere sui fan, in particolare sulle donne che potrebbero vedere le proprie esperienze riflesse nelle storie di abusi e sfruttamento che sono venute alla luce.
Allo stesso tempo, Dederer riconosce l'importanza dell'arte e il ruolo che svolge nelle nostre vite. Descrive il potere dell'arte di connetterci alle nostre emozioni e di darci un senso di significato e scopo. Riconosce anche il valore dell'espressione creativa e il contributo che gli artisti hanno dato alla nostra cultura e società.
In definitiva, il saggio di Dederer solleva questioni importanti sul rapporto tra arte e moralità e sulla responsabilità degli artisti per le loro azioni. Evidenzia anche le scelte difficili che i fan devono fare quando si confrontano con le rivelazioni di cattiva condotta dei loro artisti preferiti.
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