Российское законодательство X-XX веков в 9 т. Т. 5

A reimagining of how the aesthetic movement of the Victorian era ushered in modern queer theory.Late Victorian aesthetes were dedicated to the belief that an artwork's value derived solely from its beauty, rather than any moral or utilitarian purpose. Works by these queer artists have rarely been taken seriously as contributions to the theories of sexuality or aesthetics. But in Before Queer Theory, Dustin Friedman argues that aestheticism deploys its'art for art's sake'rhetoric to establish a nascent sense of sexual identity and community.Friedman makes the case for a claim rarely articulated in either Victorian or modern culture: that intellectually, creatively, and ethically, being queer can be an advantage not in spite but because of social hostility toward nonnormative desires. Showing how aesthetes—among them Walter Pater, Oscar Wilde, Vernon Lee, and Michael Field—harnessed the force that Georg Wilhelm Friedrich Hegel called'the negative,'Friedman reveals how becoming self-aware of one's sexuality through art can be both liberating and affirming of humanity's capacity for subjective autonomy.Challenging one of the central precepts of modern queer theory—the notion that the heroic subject of Enlightenment thought is merely an effect of discourse and power—Friedman develops a new framework for understanding the relationship between desire and self-determination. He also articulates an innovative, queer notion of subjective autonomy that encourages reflecting critically on one's historical moment and envisioning new modes of seeing, thinking, and living that expand the boundaries of social and intellectual structures. Before Queer Theory is an audacious reimagining that will appeal to scholars with interests in Victorian studies, queer theory, gender and sexuality studies, and art history.

Late Victorian aesthetes were dedicated to the belief that an artwork's value derived solely from its beauty, rather than any moral or utilitarian purpose. Works by these queer artists have rarely been taken seriously as contributions to the theories of sexuality or aesthetics. But in Before Queer Theory, Dustin Friedman argues that aestheticism deploys its "art for art's sake" rhetoric to establish a nascent sense of sexual identity and community.

Friedman makes the case for a claim rarely articulated in either Victorian or modern culture: that intellectually, creatively, and ethically, being queer can be an advantage not in spite but because of social hostility toward nonnormative desires. Showing how aesthetes—among them Walter Pater, Oscar Wilde, Vernon Lee, and Michael Field—harnessed the force that Georg Wilhelm Friedrich Hegel called "the negative," Friedman reveals how becoming self-aware of one's sexuality through art can be both liberating and affirming of humanity's capacity for subjective autonomy.

Challenging one of the central precepts of modern queer theory—the notion that the heroic subject of Enlightenment thought is merely an effect of discourse and power—Friedman develops a new framework for understanding the relationship between desire and self-determination. He also articulates an innovative, queer notion of subjective autonomy that encourages reflecting critically on one's historical moment and envisioning new modes of seeing, thinking, and living that expand the boundaries of social and intellectual structures. Before Queer Theory is an audacious reimagining that will appeal to scholars with interests in Victorian studies, queer theory, gender and sexuality studies, and art history.

Using his background in political theory and philosophical anthropology, Barry Cooper is the first political scientist to propose new interpretations of some of the most famous extant Paleolithic art and artifacts in Paleolithic Politics. This book is inspired by Eric Voegelin, one of the major political scientists of the last century, who developed an interest in the very early symbolism associated with the caves and rock shelters of the Upper Paleolithic, but never finished his analysis. Cooper, who has written extensively on Voegelin's theories, takes up the enterprise of applying Voegelin's approach to an analysis of portable and cave art. He specifically applies Voegelin's philosophy of consciousness, his concept of the compactness and differentiation of consciousness, his argument regarding the experience and symbolizations of reality, and his notion of the primary experience of the cosmos to images previously regarded as pedestrian. Cooper demonstrates the political significance of the earliest expressions of human existence and is among the first to argue that political life began not with the Greeks, but 25,000 years before them. Archaeologists, prehistorians, and politicalscientists will all benefit from this original and provocative work "This book of literary criticism, about the historical relationship of art, sexuality, and the self, demonstrates that Victorian aestheticism was a key forerunner to modern queer theory. By theorizing aestheticism through Hegel's philosophy, the author argues that Victorian aesthetes imagined that encountering art and literature could help to shape a person's queer sense of self"-- Provided by publisher