Kant's concept of disinterestedness — aesthetic judgment as free from personal interest in the object's existence — has been both celebrated and challenged in poetic theory; in the New Criticism's claim for the poem's autonomy, one finds a version of Kantian disinterestedness applied to reading practice; Keats's "Ode on a Grecian Urn," in its contemplation of frozen, ideal beauty, enacts a kind of philosophical disinterestedness — the speaker appreciates the urn without desiring to possess or use it; A poet writing about the natural world might philosophically distinguish between disinterested appreciation of beauty and the interested gaze of the tourist or the developer, arguing that genuine aesthetic attention requires a form of disinterestedness that modern consumer culture makes difficult; Schopenhauer's aesthetics, which treats the aesthetic experience as a temporary liberation from the will's demands, extends Kant's disinterestedness into a full philosophy of aesthetic redemption — the beautiful suspends our restless striving and gives us a momentary peace; The problem with Kantian disinterestedness, as feminist critics like Griselda Pollock have argued, is that it masks interested judgments — what presents itself as disinterested aesthetic appreciation is often shaped by social position, gender, and cultural power; Yeats's poetic ideal of the Mask — the distance between the poet's personal self and the poem's persona — can be read as a version of disinterestedness, the effort to give the poem an existence independent of its maker's immediate interests and emotions