Presents the argument that pornography is a distinctive literary genre, providing insight into man's demonic side.

What happens when art and pornography meet? By providing a plurality of disciplinary approaches and theoretical perspectives this essay collection will give the reader a fuller and deeper understanding of the commonalities and frictions between artistic and pornographic representations.

What happens when art and pornography meet? By providing a plurality of disciplinary approaches and theoretical perspectives this essay collection will give the reader a fuller and deeper understanding of the commonalities and frictions between artistic and pornographic representations.

Essay from the year 2016 in the subject Sociology - Relationships and Family, , language: English, abstract: The one true thing that can be said about pornography is that it rates, at most, second place. Flesh takes first prize. Yet, when it comes to fulfilling sexual intimacy, humans encounter what artists face daily: The ideal, lodged inside our heads and hearts, cannot be realized in paint, marble, or language. But do not panic: Pornography comes to the rescue! Whether a person enjoys or condemns porn, a deeper understanding of its allure requires that we examine the literary trope called “hyperbole”—the least examined of tropes, often relegated to the domain of fools, liars, Dr. Seuss, Shakespeare, and Jesus.

As film and television become ever more focused on the pornographic gaze of the camera, the human body undergoes a metamorphosis, becoming both landscape and building, part of an architectonic design in which the erotics of the body spread beyond the body itself to influence the design of the film or televisual shot. The body becomes the mise-en-scène of contemporary moving imagery. Opening The Space of Sex, Shelton Waldrep sets up some important tropes for the book: the movement between high and low art; the emphasis on the body, looking, and framing; the general intermedial and interdisciplinary methodology of the book as a whole. The Space of Sex's second half focuses on how sex, gender, and sexuality are represented in several recent films, including Paul Schrader's The Canyons (2013), Oliver Stone's Savages (2012), Steven Soderbergh's Magic Mike (2012), Lars Von Trier's Nymphomaniac (2013), and Joseph Gordon-Levitt's Don Jon (2013). Each of these mainstream or independent movies, and several more, are examined for the ways they have attempted to absorb pornography, if not the pornography industry specifically, into their plot. According to Waldrep, the utopian elements of seventies porn get reprocessed in a complex way in the twenty-first century as both a utopian impulse-the desire to have sex on the screen, to re-eroticize sex as something positive and lacking in shame-with a mixed feeling about pornography itself, with an industry that can be seen in a dystopian light. In other words, sex, in our contemporary world, still does not come without compromise.

The subject of the aesthetic has returned to cultural and literary debates with a vengeance. The Aesthetics of Cultural Studies is a timely and authoritative collection of essays that analyze the role of aesthetics in American and British cultural studies, and reflect on its recuperation in the field. Contains first-rate, original essays that analyze the role of aesthetics in American and British cultural studies, and reflect on its recuperation in the field. Contributors are leading scholars, internationally based. Includes substantial introductory material by the editor.

This book addresses the subject of violence as it features in celebrated modernist works from the early twentieth century. It traces the modernist fascination with violence back to the middle decades of the nineteenth century, when certain writers in France and England sought to celebrate dissident sexualities and stylized criminality.

How did explicit sexual representation become acceptable in the twentieth century as art rather than pornography? Allison Pease answers this question by tracing the relationship between aesthetics and obscenity from the 1700s onwards, highlighting the way in which early twentieth-century writers incorporated a sexually explicit discourse into their work. Pease explores how artists such as Swinburne, Aubrey Beardsley, James Joyce and D. H. Lawrence were responsible for shifting the boundaries between aesthetics and pornography that first became of intellectual interest in the eighteenth century and reinforced class distinctions. Her analysis of canonical works, such as Joyce's Ulysses and Lawrence's Lady Chatterley's Lover, is framed by a wide-ranging examination of the changing conceptions of aesthetics from Shaftesbury, Hutcheson and Kant to F. R. Leavis, I. A. Richards and T. S. Eliot. Based on extensive archival work, the book includes examples of period art and illustrations which eloquently demonstrate the shift in public taste and tolerance.

Cuteness is one of the most culturally pervasive aesthetics of the new millennium and its rapid social proliferation suggests that the affective responses it provokes find particular purchase in a contemporary era marked by intensive media saturation and spreading economic precarity. Rejecting superficial assessments that would deem the ever-expanding plethora of cute texts trivial, The Aesthetics and Affects of Cuteness directs serious scholarly attention from a variety of academic disciplines to this ubiquitous phenomenon. The sheer plasticity of this minor aesthetic is vividly on display in this collection which draws together analyses from around the world examining cuteness’s fundamental role in cultural expressions stemming from such diverse sources as military cultures, high-end contemporary art worlds, and animal shelters. Pushing beyond prevailing understandings that associate cuteness solely with childhood or which posit an interpolated parental bond as its primary affective attachment, the essays in this collection variously draw connections between cuteness and the social, political, economic, and technological conditions of the early twenty-first century and in doing so generate fresh understandings of the central role cuteness plays in the recalibration of contemporary subjectivities.