Don Juan and the Representation of Spiritual Sensuousness
Identifieur interne : 005B74 ( Main/Exploration ); précédent : 005B73; suivant : 005B75Don Juan and the Representation of Spiritual Sensuousness
Auteurs : Sylvia Walsh UtterbackSource :
- Journal of the American Academy of Religion [ 0002-7189 ] ; 1979-12.
Abstract
The figure of Don Juan, traditionally envisioned as a promiscuous lover, may be reinterpreted as a spiritual erotic figure, providing an appropriate image for the representation of the sensuous character of religious life in artistic form. Previous treatments of the Don Juan theme in drama and literature reflect, on the whole, a negative conception of the figure, characterizing him variously as seductive, deceptive, immoral, irreligious, scheming, verbose, and absurd. In some versions Don Juan comes to receive no enjoyment from his seductions or he becomes the seduced rather than seducer. In an essay on the aesthetics of representing Don Juan, Søren Kierkegaard interprets the original figure as the embodiment of a daemonic, sensuous-erotic principle in opposition to spirit. As an immediate, inward, dynamic, and abstract force, this can be expressed artistically, he maintains, only in music. Nonmusical interpretations of Don Juan, in Kierkegaard's estimation, present him according to ethical categories instead of aesthetic ones; that is, they make him an individual rather than an ideality, reflective rather than innocent and spontaneous, immoral rather than premoral or amoral, sensual rather than sensuous, a seducer rather than a seductive force of nature. Reconceptualized as a figure who embodies the religious in the form of a “second immediacy” (Kierkegaard), Don Juan may be seen as the representative of a spiritual sensuousness or desire for communion with others in love. Though ambiguous in outward manifestation, his love for many would then form a metaphor for the inclusive nature of spiritual love. Don Juan thus provides a model by which both males and females may gain a better image in relation to one another, as envisaged in a theology of love. The artistic representation of spiritual sensuousness may occur both in human life and in traditional modes of art. Conducive to the evoking of different qualities of sensuous feeling, musical forms—including jazz, rock, disco, and popular love songs—are especially suited for the expression of spiritual sensuousness. Contemporary theology, which has neglected the medium of music, needs to give attention to this mode for the representation of religious life. For aesthetic, ethical, and religious dimensions of life are united in love.
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DOI: 10.1093/jaarel/XLVII.4.627
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