love, like art, becomes a medium of self-expression (the artist as exemplary sufferer)

for two thousand years, among christians and jews, it has been spiritually fashionable to be in pain (the artist as exemplary sufferer)

the principal plays of shakespeare are plays about self-consciousness, about characters not acting so much as dramatizing themselves in roles (the death of tragedy)

the two pioneering forces of modern sensibility are jewish moral seriousness and homosexual aestheticism and irony (notes on ‘camp’)

the difference that i draw between ‘style’ and ‘stylization’ might be analogous to the difference between will and willfulness (on style)

in place of a hermeneutics we need an erotics of art (against interpretation)