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Beautiful Democracy beautiful democracy Russ Castronovo beautiful democracy Aesthetics and Anarchy in a Global Era The University of Chicago Press Chicago and London russ castronovo is the Jean Wall Bennett Professor of English and American Studies at the University of Wisconsin–Madison. He is the coeditor of two collections, and the author of two books, Necro Citizenship: Death, Eroticism, and the Public Sphere in the Nineteenth-Century United States and Fathering the Nation: American Genealogies of Slavery and Freedom The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2007 by The University of Chicago All rights reserved. Published 2007 Printed in the United States of America 16 15 14 13 12 11 10 09 08 07 1 2 3 4 5 ISBN-13: 978-0-226-09628-5 (cloth) ISBN-13: 978-0-226-09629-2 (paper) ISBN-10: 0-226-09628-9 (cloth) ISBN-10: 0-226-09629-7 (paper) Library of Congress Cataloging-in-Publication Data Castronovo, Russ, 1965– Beautiful democracy : aesthetics and anarchy in a global era / Russ Castronovo. p. cm. Includes bibliographical references and index. isbn-13: 978-0-226-09628-5 (cloth : alk. paper) isbn-13: 978-0-226-09629-2 (pbk. : alk. paper) isbn-10: 0-226-09628-9 (cloth : alk. paper) isbn-10: 0-226-09629-7 (pbk. : alk. paper) 1. Aesthetics, American. 2. Arts—United States. 3. United States—Civilization. 4. Democracy—United States. I. Title. bh221 .u53c37 2007 306.4’70973—dc22 2007003728 ᭺ϱ The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. the beauty of the everyday . Maya, Julian, Leslie contents Illustrations . ix Acknowledgments . xi introduction Aesthetics and the Anarchy of Global Culture . 1 The Cultured Few . 4 Aesthetics 101 . 8 The Popular Rage .18 Artwork Essays at the Antipodes . 22 . 1 . flowers and billy clubs The Beauty and Danger of Ethical Citizenship . 27 Beauty and Civic Identity . 30 Beauty and Science . 37 Beauty and Crowd Control . 45 Beauty and Danger . 55 . 2 . american literature internationale Translation, Strike, and the Time of Political Possibility . 65 Translating Aesthetics to the Common . 66 The Time of American Literature . 73 1877: The Time is Now . 82 Art for the Post-Revolution: Whitman and Santayana . 88 The Hazards of New Translation . 92 Novelists for (against?) Change . 104 . 3 . beauty along the color line Lynching, Form, and Aesthetics . 106 Aesthetics versus Art . 110 Aestheticizing Violence . 116 Organized Propaganda . 122 Gendering Aesthetics . 128 Alternative Aesthetics . 132 . 4 . “bombs of laughter” Motion Pictures, Mass Art, and Universal Language . 136 Classic Beauty for Modern Times . 141 Du Bois at the Movies: Ugliness, Endlessness, and Jim Crow . 152 The Sound of the Image: Chaplin and International Laughter . 157 Esperanto of the Eye: Anarchy and Internationalism . 173 . 5 . geo-aesthetics Fascism, Globalism, and Frank Norris . 180 Worldwide Unity and Formalism . 183 Art and Terror . 190 Literature “As Such” . 194 Geo-Aesthetics . 201 Postfascist Form . 209 Afterword . 213 Notes . 217 Works Cited . 255 Index . 271 illustrations 1. Jacob Riis, “Bottle Alley, Baxter Street” (ca. 1890) 44 2. “Poor Children among Flowers,” from Charles Loring Brace, The Dangerous Classes of New York, and Twenty Years’ Work among Them (1872) 45 3. Jacob Riis, “Five Cents a Spot: Unauthorized Lodgers in a Bayard Street Tenement” (ca. 1890) 47 4. Jacob Riis, “Typical Toughs from the Rogues’ Gallery” (ca. 1890) 50 5. Jacob Riis, “Two Bowery Lodgers in Character, Practicing a Hold-Up” (ca. 1890) 62 6. Jacob Riis, “Members of the Gang Showing How They ‘Did the Trick’ ” (ca. 1890) 63 7. “Futile Attempt of the Mob” from Alan Pinkerton, Strikers, Communists, Tramps, and Detectives (1878) 87 8. “Rioters Assaulting Soldiers” from Alan Pinkerton, Strikers, Communists, Tramps, and Detectives (1878) 88 9. “Along the Color Line,” The Crisis (1914) 112 10. Charlie Chaplin, Modern Times (1936) 164 11. Charlie Chaplin, Modern Times (1936) 165 12. Charlie Chaplin, Modern Times (1936) 169 13. Charlie Chaplin, Modern Times (1936) 172 14. Charlie Chaplin, Modern Times (1936) 172 15. “Why Is It That the Wheat Never Looks So Good to the Lambs as When It Is So High That It’s Dangerous?” Literary Digest 29 (1904) 182 acknowledgments Early work on aesthetics is all over the place. It is a global discourse that established a foothold in a range of fi elds from psychology to literary criti- cism and from philosophy to early fi lm studies. But I intend this statement about the widespread disciplinary nature of aesthetics more literally and spatially. Largely forgotten in professors’ lecture notes and research pa- pers from a century ago, theories of art, beauty, and common feeling are strewn, rather unsystematically, across university archives. In many cases, work on aesthetics mainly shows up in the notes of philosophy professors, while in other collections it is concentrated in typewritten dissertations of psychology students. The University of Wisconsin–Madison has some of this material, but fi res at the original Science Hall in 1884 and at Uni- versity Hall in 1916 no doubt consumed many documents that would have proved valuable to my study. For this reason, I am grateful to the Jean Wall Bennett Fund and the Dorothy Draheim-Bascom Fund for enabling me to widen my search with visits to the University of California, Berkeley, the University of Chicago, Harvard University, the Huntington Library, and the Yale University Divinity School Library. I thank the librarians and archivists at these institutions for providing access and insight to the mis- cellany of aesthetic education. Aesthetics are conceptually all over the place, too. Approaches to the topic at the end of the nineteenth and start of the twentieth centuries drew on scientifi c, historical, physiological, and sociological approaches, or, as was more likely, some mixture of these methodologies. Getting a handle on what “the beautiful” meant to university men and women has been a diffi cult task, certainly no easier than trying to fi gure out what xii . Acknowledgments beauty and art meant outside the ivory tower in places like tenements, fi ve-cent theaters, and the wheat fi elds of California. I have been fortu- nate to have the support and insight of friends and colleagues who helped me tackle the sprawl of aesthetic discourse. Jana Argersinger, Jonathan Auerbach, Tom Augst, Mike Bernard-Donals, Colleen Boggs, Greg Jack- son, Susan Gillman, Susan Stanford Friedman, Dana Nelson, Don Pease, Tom Schaub, and Yasemin Yildiz supplied everything a writer needs: key turns of phrase, searching questions, help with translations, lucid read- ings, leads on sources, and, most of all, encouragement to keep writing. I am grateful to Nellie McKay for taking an interest in my work on W. E. B. Du Bois: like so many in the profession, I will miss her. Since I worry that the tyranny of alphabetization might minimize his contribution, I reserve a separate sentence for David Zimmerman, who graced this project with discernment and friendship. Along the way in writing this book, I had the opportunity to co-edit with Chris Castiglia a special issue of American Lit- erature on “Aesthetics and the End(s) of Cultural Studies.” Working with Chris sharpened my thinking about the collective horizon of aesthetics. Caroline Levander posed extraordinary questions about this project at an important juncture, helping me to travel to the “antipodes.” From day one to the fi nal edits, this project has had the support of Wai Chee Dimock. A model of insight, generosity, and rigor, she’s simply the best. I was also fortunate to deliver portions of this book as talks where audiences energized my thinking with their responses, comments, and questions. In particular, I would like to thank Renée Bergland at Simmons College, Larry Buell and Wai Chee Dimock at the Symposium on Ameri- can Literary Globalism at Yale University, James Dawes at the Center for Scholarship and Teaching at Macalaster College, Elizabeth Duquette and Stacey Margolis at the Tanner Humanities Center at the University of Utah, Bob Levine at the University of Maryland, College Park, Don Pease at the American Studies Institute at Dartmouth College, Michael Rothberg at the Unit for Criticism and Theory at the University of Illi- nois, Urbana-Champaign, and Laura Thiemann Scales at the American Literature Colloquium at Harvard University for opportunities to share my work. In every case, these individuals extended so much more than an invitation: they provided intellectual community, critical engagement, and good cheer. Portions of this book fi rst appeared as articles, and I am grateful to these journals for permitting me to draw on this material here. An early Acknowledgments . xiii version of chapter 5 appeared as “Geo-Aesthetics: Fascism, Globalism, and Frank Norris,” boundary 2 30 (Fall 2003): 157–84. Since its initial publica- tion and as the book took shape as a whole, this article has seen exten- sive reworking. Roughly half of chapter 2 appeared in “American Literary Globalism,” a special issue of ESQ 50 (2004): 53–93. Newly added mate- rial frames this contribution in terms of research on university aesthetics, crowds, and William Dean Howells. Finally, a shorter version of chapter 3 was published in PMLA 121 (October 2006) and is reprinted by permission of the copyright owner, The Modern Language Association of America. I am also grateful to the University of Chicago Archives, the Houghton and Pusey Libraries at Harvard University, and the Yale University Divinity School Library for permission to quote from letters, dissertations, lesson plans, and other documents relating to the teaching and research of aes- thetics a hundred years ago. None of this revised material would have made it into its fi nal form here without the steady hand of Alan Thomas.
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