000			03188cam a2200421 i 4500
005			20221101185437.0
008			970901s1996 nyua b 001 0 eng d
010			_a 95052336
011			_aBIB MATCHES WORLDCAT
020			_a0814746861
020			_a9780814746868
035			_a(ATU)b10541378
035			_a(OCoLC)33948147
040			_aDLC _beng _erda _cDLC _dMUQ _dBTCTA _dYDXCP _dBAKER _dUBC _dHEBIS _dATU
043			_ae-uk-en _ae-fr---
050	0	0	_aNX652.W6 _bK47 1996
082	0	4	_a704.942
100	1		_aKern, Stephen, _eauthor. _91037852
245	1	0	_aEyes of love : _bthe gaze in English and French culture, 1840-1900 / _cStephen Kern.
264		1	_aNew York : _bNYU Press, _c1996.
300			_a283 pages : _billustrations ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 246-275) and index.
520			_aStephen Kern has discovered in Pre-Raphaelite and Impressionist art a recurring pattern for arranging the sexes: a profiled man gazing at a woman who looks away from him and toward the viewer, while she ponders an apparent offer. Kern draws on such images to challenge the claim of some feminist critics and historians that gazing men monopolize subjectivity and turn women into sex objects. So intent are these writers on viewing women as victims of the male gaze that they ignore the lively expressions of women, who in fact reveal a commanding subjectivity. Compared with the eyes of men, women's eyes are more visible, consider more varied thoughts, and convey more profound, if not more intense, emotions. An authoritative and highly original survey of European art and literature, Eyes of Love also challenges another widely held belief. While a double standard has clearly governed how society judged the sexes, Eyes of Love convincingly demonstrates that a single moral standard governed how men and women in love judged one another and that women were more committed to it. Victorian women were thus more moral in loving, because they were more faithful, honest, and resolved to make love flourish. Kern further interprets men's highlighting the eyes of women as confessional of men's own romantic failures and celebratory of women's superior capacity for love. He supports these startling interpretations of Rossetti, Millais, Hunt, Burne-Jones, Tissot, Renoir, Manet, Degas, and Gauguin with evidence from novels by Hugo, Flaubert, Zola, Dickens, C. Bronte, Gaskell, Eliot, Hardy, and James.
588			_aMachine converted from AACR2 source record.
650		0	_aWomen in art _9325950
650		0	_aArts, English _y19th century _9769710
650		0	_aArts, French _y19th century _9337278
650		0	_aArts, English _9314162
650		0	_aArts, French _9314164
856	4	2	_3Contributor biographical information _uhttp://catdir.loc.gov/catdir/enhancements/fy0807/95052336-b.html
907			_a.b10541378 _b10-06-19 _c27-10-15
942			_cB
945			_a704.942 KER _g1 _iA141657B _j0 _lcmain _o- _p$72.84 _q- _r- _s- _t0 _u15 _v2 _w0 _x3 _y.i11226687 _z28-10-15
998			_a(2)b _a(2)c _b23-03-18 _cm _da _feng _gnyu _h0
999			_c1129132 _d1129132