Abstract
In Guilty Aesthetic Pleasures, Timothy Aubry argues that political criticism such as ideology critique has driven aesthetic appreciation underground. Aubry aims to show how aesthetic pleasure, often unwittingly, animates political commitments by examining the scholarly reception of Nabokov's Lolita and Toni Morrison's Beloved alongside critical approaches such as the New Criticism, deconstruction, the New Historicism, and the Digital Humanities. Guilty Aesthetic Pleasures raises important questions about the legacy of past critical methodologies and the current fashions that occupy scholarly attention. Aubry's thesis is sure to provoke debate among historians of literary criticism.
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