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Modernism, mass culture, and the aesthetics of obscenity

Author: Allison Pease
Publisher: Cambridge ; New York : Cambridge University Press, 2000.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
"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  Read more...
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Genre/Form: Criticism, interpretation, etc
Named Person: 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
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Allison Pease
ISBN: 0521780764 9780521780766
OCLC Number: 42882844
Description: xvi, 244 pages : illustrations ; 24 cm
Contents: 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.
Responsibility: Allison Pease.
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Abstract:

"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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