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Modernism, mass culture, and the aesthetics of obscenity

著者: Allison Pease
出版商: Cambridge ; New York : Cambridge University Press, 2000.
版本/格式:   Print book : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"How did explicit sexual representation become acceptable in the twentieth century as art rather than pornography? Allison Pease answers this question by tracing the relationship between aesthetics and obscenity from the 1700s onwards, highlighting the way in which early twentieth-century writers incorporated a sexually explicit discourse into their work. Pease explores how artists such as Swinburne, Aubrey  再读一些...
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详细书目

类型/形式: Criticism, interpretation, etc
提及的人: D H Lawrence; Algernon Charles Swinburne; Aubrey Beardsley; James Joyce; Aubrey Beardsley; James Joyce; D H Lawrence; Algernon Charles Swinburne; David Herbert Lawrence; Algernon Charles Swinburne; Aubrey Beardsley; James Joyce
材料类型: 互联网资源
文件类型: 书, 互联网资源
所有的著者/提供者: Allison Pease
ISBN: 0521780764 9780521780766
OCLC号码: 42882844
描述: xvi, 244 pages : illustrations ; 24 cm
内容: Civil society : aesthetics and pornography in the eighteenth century --
Victorian obscenities : the new reading public, pornography, and Swinburne's sexual aesthetic --
The mastery of form : Beardsley and Joyce --
Being disinterested : D.H. Lawrence --
Modernist criticism : the battle for culture and the accommodation of the obscene.
责任: Allison Pease.
更多信息:

摘要:

"How did explicit sexual representation become acceptable in the twentieth century as art rather than pornography? Allison Pease answers this question by tracing the relationship between aesthetics and obscenity from the 1700s onwards, highlighting the way in which early twentieth-century writers incorporated a sexually explicit discourse into their work. Pease explores how artists such as Swinburne, Aubrey Beardsley, James Joyce, and D.H. Lawrence were responsible for shifting the boundaries between aesthetics and pornography that first became of intellectual interest in the eighteenth century and reinforced class distinctions. Her analysis of canonical works, such as Joyce's Ulysses and Lawrence's Lady Chatterly's Lover, is framed by a wide-ranging examination of the changing conceptions of aesthetics from Shaftesbury, Hutcheson, and Kant to F.R. Leavis, I.A. Richards, and T.S. Eliot. Based on extensive archival work, the book includes examples of period art and illustrations which eloquently demonstrate the shift in public taste and tolerance."--Jacket.

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