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Humanities 2019, 8(1), 32; https://doi.org/10.3390/h8010032

From Politics to Pope: An Account of the Group Aesthetic

Department of English Studies, Nipissing University, North Bay, ON P1B 8L7, Canada
Received: 7 January 2019 / Revised: 6 February 2019 / Accepted: 15 February 2019 / Published: 20 February 2019
(This article belongs to the Special Issue Contestations: Literature & Aesthetics)
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Abstract

This paper discusses the study of Chartist and working-class literatures, noting that the pronounced development of aesthetic criticism in these areas uncomfortably corresponds with the rejection of “aesthetics” in other fields. Chartist, working-class, and laboring-class scholars have broken free from monolithically sociological or political readings that only a generation ago too often dismissed artistic endeavors as, at best, merely a re-accenting of the mainstream. Current studies focus on the aesthetic innovations that emerged out of working-class entanglements with mainstream counterparts. The paper argues that the rejection of “aesthetics” generally fails to recognize marginalized and group aesthetics (including the critical work done on marginalized and group aesthetics) and specifically what it meant for a political cohort—the Chartists are my example—to think aesthetically. View Full-Text
Keywords: Chartism; nineteenth-century working-class studies; literary aesthetics; political art; Thomas Cooper Chartism; nineteenth-century working-class studies; literary aesthetics; political art; Thomas Cooper
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).
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Breton, R. From Politics to Pope: An Account of the Group Aesthetic. Humanities 2019, 8, 32.

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