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010 _a2010000456
019 _a(OCoLC)979574364
020 _a9780231146906
_qprint
020 _a9780231519557
_qPDF
024 7 _a10.7312/davi14690
_2doi
035 _a(DE-B1597)9780231519557
035 _a(DE-B1597)458778
035 _a(OCoLC)667475975
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aBH39
_b.D383 2010
050 4 _aBH39
_b.D383 2010
072 7 _aPHI001000
_2bisacsh
082 0 4 _a111.85
_bD2611q
_222
084 _aonline - DeGruyter
100 1 _aDavis, Whitney
_eautore
245 1 0 _aQueer Beauty :
_bSexuality and Aesthetics from Winckelmann to Freud and Beyond /
_cWhitney Davis.
264 1 _aNew York, NY :
_bColumbia University Press,
_c[2010]
264 4 _c©2010
300 _a1 online resource (368 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aColumbia Themes in Philosophy, Social Criticism, and the Arts
505 0 0 _tFrontmatter --
_tContents --
_tPreface --
_tIntroduction: Sexuality and Aesthetics from Winckelmann to Freud and Beyond --
_tQueer Beauty --
_tThe Universal Phallus --
_tRepresentative Representation --
_tDouble Mind --
_tThe Line of Death --
_tThe Sense of Beauty --
_tThe Aesthetogenesis of Sex --
_tLove All the Same --
_tThe Unbecoming --
_tFantasmatic Iconicity --
_tNotes --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis follows how such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aAesthetics.
650 0 _aHomosexuality.
650 0 _aSex.
650 7 _aPHILOSOPHY / Aesthetics.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7312/davi14690
856 4 0 _uhttps://www.degruyter.com/isbn/9780231519557
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780231519557/original
942 _cEB
999 _c183398
_d183398