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By Dimitrova, Tomova, Tasseva

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Sample text

Thus graffiti aggrandizes the very culture of novelty and consumption it seeks to attack. It does not create a "genuine" alternative to existing forms of artistic expression and consumption, so much as it presents itself as a practice of novelty and individuation quite analogous to such existing forms. "The Marquis de Meese" analyzes pornography as a crime of content, focusing upon the ways in which the reproduction and dispersal of sublimation become the end of sublimation and hence a threat to representation itself.

Grafton's formidable learning and wit distinguish his essay, but 1 think we cannot— as we remember the counter-example of Hellenistic individuality—overlook the historical transformations in the status of writing and authoring in their specificity. Forgery is a crime, but not a "natural" one. Another useful survey of literary forgeries is in Richard Altick, The Scholar Adventurers (New York: Macmillan, 1950), which provides accounts of John Payne (Jollier's forgeries and alterations of Elizabethan materials, Thomas J.

16 But even actual visitors from China had little to do with the construction of the Orient in the literary culture. During the eighteenth century's "Chinese vogue," the cultural Other was an occasion for reflexivity in the form of satire, the literary form that above all others assumes a natural stance in its focus upon the critique of all artificiality. 17 But these singular foreign visitors cast upon the shores of British literary culture held up another kind of satirical mirror to the stranded authorial subjectivity of the period.

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