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• W76438259 abstract "[1] In his oft-cited defense of metaphysical poetry T.S. Eliot provocatively comments on what he terms a seventeenth-century dissociation of sensibility, an aesthetic sea change which we have never recovered (288). For Eliot, English Restoration saw emergence of a new aesthetic economy that divorced idea from sensation, observation from experience, and thought from feeling. Although concerned with a slightly later Continental context, Gyorgy Lukacs offers us a useful way to contextualize this artistic fall, drawing out connections between what he similarly labels a deterioration of aesthetic and rise of reified culture. Lukacs observes that humanity's desire for unity, harmony, connection to world and to others becomes ever more acute as their existence is increasingly shaped by atomization, alienation, and (self-) division. bleaker and emptier life becomes under capitalism, he writes, the more intense is yearning after beauty (Ideal, 89). However, in as far as artistic characterizing post-capitalist artistic production involves a flight from world of living, modern ideologies of artistic tend to be illusory and superficial (89). Structured by escapism, modern aesthetic harmony is too often conditioned by withdrawal into an atomized, solipsistic psyche, craven retreat into a nostalgic past, or utopian departure in name of some ethereal futurity. [2] The period of English history Eliot associates with decomposition of was a decisive one, witnessing political, philosophical, and social revolutions that set stage for rise to modern state, enlightenment, and a new commercial consciousness. In seventeenth-century England, violent shift toward modern conditions of production, labor, and exchange--conjoined with massive territorial expansion--disrupted rhythmic and spiritual pulse of social life. Urban subjects, in particular, confronting more competitive and estranged conditions of social interaction, exhibited new modes of perception and a radically transformed economy of meaning. In both artistic representations and in everyday life, in high and low culture alike, conventional systems of meaning attached to human beings since antiquity were progressively unmoored by ongoing progress of new science, Renaissance humanism, and Protestant Reformation. Just as humanity's analogical connection to universe was being severed by Copernican revolution, in early modern anatomy theatre body was redefined as a machine, disconnected from cosmos, reified as an object of knowledge, and subjected to an increasingly transcendent rationality. The new science's sundering of body from world had as its analogue Protestantism's jettisoning of sensual matter from realization of Spirit. The idea of art to which Restoration gave birth continues to inform our ideologies of aesthetic. [3] What neither Eliot or Lukacs are particularly interested in are gendered aspects of development of modern aesthetics. What I am specifically interested in here is that period of English history associated with women's debut as public artistic producers and a new kind of aesthetic object. Clearly, a radical transformation of gender took place sometime between outbreak of civil war in 1642 and Restoration of monarchy--a reorganization of gender that resulted in both strict separation of spheres of sexes and in an intense fascination with sexual nature of woman. Specifically, I want to suggest that increased cultural visibility of women that accompanied this shift--a visibility that is typically equated with progress for women--is in some vital respects, more productively read through less than enthusiastic narratives of Eliot and Lukacs. [4] Here, I will look at remarkable coincidence of a spectacular outburst of popular hostility toward London prostitutes with radical transformation of sexual economy of English theatre in opening decade of English Restoration. …" @default.
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• W76438259 title "Striking the Posture of a Whore: The Bawdy House Riots and the Antitheatrical Prejudice" @default.
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