LEADER 04326nam 2200685Ia 450 001 9910791443303321 005 20230606175540.0 010 $a1-280-59930-8 010 $a9786613629142 010 $a0-231-51955-9 024 7 $a10.7312/davi14690 035 $a(CKB)2560000000051900 035 $a(EBL)908748 035 $a(OCoLC)826476483 035 $a(SSID)ssj0000486859 035 $a(PQKBManifestationID)12231854 035 $a(PQKBTitleCode)TC0000486859 035 $a(PQKBWorkID)10442461 035 $a(PQKB)10654153 035 $a(MiAaPQ)EBC908748 035 $a(DE-B1597)458778 035 $a(OCoLC)667475975 035 $a(OCoLC)979574364 035 $a(DE-B1597)9780231519557 035 $a(Au-PeEL)EBL908748 035 $a(CaPaEBR)ebr10410228 035 $a(CaONFJC)MIL362914 035 $a(EXLCZ)992560000000051900 100 $a20100114h20102010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aQueer beauty $esexuality and aesthetics from Winckelmann to Freud and beyond /$fWhitney Davis 210 1$aNew York :$cColumbia University Press,$d2010. 210 4$aŠ2010 215 $a1 online resource (x, 354 pages) $cillustrations 225 1 $aColumbia themes in philosophy, social criticism, and the arts 311 0 $a0-231-14690-6 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$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 330 $aThe pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis follows how such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today. 410 0$aColumbia themes in philosophy, social criticism, and the arts. 606 $aAesthetics 606 $aSex 606 $aHomosexuality 615 0$aAesthetics. 615 0$aSex. 615 0$aHomosexuality. 676 $a111/.85 686 $a71.25$2bcl 700 $aDavis$b Whitney$0473559 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910791443303321 996 $aQueer beauty$92760861 997 $aUNINA