To See a Moose by Agnieszka Kościańska

Author:Agnieszka Kościańska [Kościańska, Agnieszka]
Language: eng
Format: epub
Tags: Social Science, Anthropology, Cultural & Social, History, Europe, Poland, Russia & the Former Soviet Union
ISBN: 9781800730618
Google: 0agDEAAAQBAJ
Publisher: Berghahn Books
Published: 2021-05-14T02:52:56+00:00

Pornography vs. Erotica

Poland’s golden age of forensic sexology occurred under state socialism. Expert sexologists were called upon to settle whether confiscated materials were still erotica or had become pornography. However, many consumers (and lawyers who perceived the fictitiousness of the distinction) believed that pornography should be legalized.

Students, for example, were calling for this. In 1970, Lew-Starowicz wrote the following in Etc: ‘I have received a letter from a student club in Wrocław that calls, in intemperate language, for the official popularization of pornography (e.g. through the sale of colour albums and periodicals in “Ruch” kiosks), nudism in holiday resorts and striptease performances’ (1970e: 14). The students demand that an effort is made to ‘combat hypocrisy and prudishness’ (1970e: 14). They are motivated by libertarian ideals and a wish to catch up with Western civilization.

The sexologist distances himself from their demands for the following reasons: ‘The writers of this letter have not chosen the most felicitous arguments. The wave of prudishness is retreating in our society and rarely appears among the young. Human liberty is a philosophical problem with a very broad perspective, but the freedom to popularize pornography does not constitute its essence. Moral blinkeredness is also a relative matter’ (1970e: 14). He also refutes the civilizational argument: ‘Pornography, rather than being a test of progress, is a trend that is a by-product of civilizations characterized by extensive commodification’ (1970e: 14). Lew-Starowicz contrasts pornography with sexual culturedness based on ‘a subtle approach to the maintenance of sexual relationships, knowledge of psychological differences and a system of values rather than the quantity of techniques that are known or pictures memorized’ (1970e: 14). In the final reckoning, he is evidently against the popularization of pornography, but is in favour of erotic art. Whereas pornography can lead, in his view, to psychosexual immaturity, the objectification of women and perversions or neuroses, erotic art brings nothing but benefits. First: ‘The direction of personality towards the highest emotions, towards aesthetics and culture’ (1970e: 14). Second: ‘The humanization of the sex drive through it being invested with a cultural dimension, reflection and artistic contemplation’ (1970e: 14). Third: ‘The growth of culture pertaining to the sexual act’ (1970e: 14). And fourth: ‘The provision of stimuli conducive to the contemplation of human nature and history of culture’ (1970e: 14).

But what, in fact, is erotic art? Lew-Starowicz provides a definition:

Erotic art not only incorporates painting, sculpture, music and literature, but also the magnificent heritage of the past, e.g. Greek vases, Hellenistic art, mythological scenes, Egyptian love poetry and painting, the sculptures of the Renaissance, Baroque and rococo, the poetry of the Provençal troubadours, Renoir’s paintings, courtly and romantic love literature, Hindu, Syrian and operatic music, certain dance forms, etc. It currently also incorporates fine-art photography and new means of visual art expression. (1970e: 14)

He expresses an immediate reservation:

Not everyone is capable of appreciating erotic art. That is why it is so important to provide suitable annotation, a suitable introduction and moderate circulation. Erotic art may be addressed to those

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