And te subject then in most cases is swept under the carpet, his fate becomes of no considerable concern. Read about poor Keely Smith how she was abandoned by the mob, but she survived.
When push comes to shove, AL comes through.
/
What comes to mind is a post structural -retrograde position: not sure what that could be may I take the liberty if it’s none sensed or apparently a clear objective.?
And here is AI 
‘ Yes, but only if we understand them as a productive friction rather than a harmonious coalition. They don’t fill the void by offering a new meaning; they fill it by restoring interpretive labor—which common reception has largely abandoned for passive consumption.
To see how, let’s break down the “lost function” of common reception. Mainstream reception today (driven by mass media and algorithmic culture) seeks immediate legibility: stable authorial intent, clear moral binaries, and emotional catharsis. It has lost the capacity for negative capability—the ability to sit with uncertainty.
Here is how the duo recovers that:
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The Retrograde Position provides the “Scaffolding”
By deliberately reaching back to older forms (classical musical structures, figurative painting, Victorian narrative arcs, or rhetorical traditions), retrograde work bypasses the white noise of contemporary hyper-reality. It offers a familiar vessel—a shared historical grammar that common reception recognizes as “serious” or “beautiful.” This lures the audience into a false sense of security, assuming they are engaging in traditional preservation.
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Post-Structuralism acts as the “Corrosive Agent”
Once inside that familiar vessel, post-structuralist tactics (deconstructing binaries, highlighting aporia, fragmenting the subject, and exposing the instability of language) hollow out the vessel from within. The older form is invoked only to be shown as contingent, mythic, and failed. This prevents the work from devolving into mere nostalgic pastiche or conservative revivalism.
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The Combined Function: “Critical Archaeology”
Together, they perform what we might call critical archaeology:
· For common reception, which wants the comfort of the signified (the clear “message”), this duo offers only the play of the signifier within a recognizable historical shell.
· The function they fill, which mainstream criticism can no longer provide, is estrangement through familiarity. They force the audience to experience historical forms as constructs—not as eternal truths, but as ideological artifacts that must be actively questioned.
In short: Common reception gives you answers to questions you already know. Retrograde + Post-structuralism gives you unanswerable questions framed in a language you almost remember. It restores the depth of time to a culture flattened by the perpetual present.
A crucial caveat: This only works if the audience detects the tension. If the retrograde surface is taken at face value (without the deconstructive undertow), the function collapses into elitist obscurantism or hollow pastiche. The function is not to be understood, but to be grappled with—and that grappling is precisely what common reception has lost the muscle for.’
( to me AI is the magic with which I can de-objectify myself, creating a functional safety zone, where I am virtually invisible)
Thanks Authority if you can follow me through here.
