Abstract

Collingwood’s concept of corruption of consciousness is introduced, followed by an extended example from art history. While the typical Renaissance nude enabled, or even encouraged, corruption of consciousness on the part of the male spectator, the nudes by Goya and Manet led the viewer to confront his disowned feelings, thus serving as a medicine for the corruption of consciousness. Finally, I examine the role of corruption of consciousness in the treatment of antisemitism in Elia Kazan’s 1947 film Gentleman’s Agreement.