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- W2044690647 abstract "Allison Pease attempts to trace the emergence of modern notions of obscenity and pornography in Britain from the eighteenth century to the twentieth in Modernism, Mass Culture, and the Aesthetics of Obscenity. Pornography, as she argues persuasively, developed dialectically with eighteenth-century ideas of the aesthetic, especially as these categories had been formulated by the third Earl of Shaftesbury and Immanuel Kant. The difference between these two terms was that the aesthetic appealed to the rational and reflective faculties (an appeal that [End Page 527] furnished the notion of disinterest), whereas pornography attempted to provoke a purely sensual (or interested) response. In the modern era, she contends, this distinction between the aesthetic and the obscene began to collapse as artists such as Charles Algernon Swinburne, Aubrey Beardsley, James Joyce, and D. H. Lawrence appropriated pornographic discourses to create an aesthetic of the obscene, which transformed what had once been regarded as low cultural elements into a new kind of high art (34). Indeed it was in part obscenity's very lowness that made the modern aesthetic of the obscene look high. The triumph of this new aesthetic was then secured, Pease suggests, by modernist critics such as I. A. Richards, F. R. Leavis, and T. S. Eliot, whose notions of embodied response transform Kantian aesthetic philosophy by granting a central role to the once despised concept of sensation (xv)." @default.
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- W2044690647 date "2001-01-01" @default.
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- W2044690647 title "Modernism, Mass Culture, and the Aesthetics of Obscenity (review)" @default.
- W2044690647 doi "https://doi.org/10.1353/mod.2001.0071" @default.
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