Dissertationen zum Thema „Erotic design“

hommagethis work is built upon and intended as an homage to the writingstyle of the author Jean Genet. this through post modernreference collage and pastiches of selected works from thequeer cultural heritage.Genets style could be described asa strikingly beautiful, yet morbid, corporeal world ofmasculinities. the dualism of disgustand the embrace of the decay of morality.<br>Program: Modedesignutbildningen

This thesis is an investigation of smara. Smara is a Sanskrit word and means memory and desire. It has no equivalent in the English language and so the attempt to understand smara becomes both a linguistic and an ontological task.<br>The reader is introduced to the similarities and idiosyncrasies between Western and Indian notions of memory and desire and then invited into the search for the junction between memory and desire in Indian thought.<br>Analysis of anthropological and philosophical texts as well as a semantic mapping of Kalidasa's masterpiece entitled Sakuntala: The Ring of Recollection, reveals not only the co-existence of memory and desire in smara but also the notion of smara as a process.

The Solar Updraft Tower Power Plant (SUTPP) is a simple proven concept capable of producing power from sunlight with relatively little complexity and few moving parts. Unfortunately, it requires a large investment to build huge greenhouse-like collector to feed heated air into a very tall chimney, where it rises due to natural convection and spins turbo-generators that provide electric power. Substantial research has gone into understanding its physics, modeling its performance, and optimizing its fundamental design aspects. Economic analyses indicate it is feasible, proposals have been made, and the proposal for the first commercial plant has been floated. This thesis considers a few well researched configurations, and examines their environmental impacts (via a Life Cycle Assessment) of Global Warming Potential (GWP), and Energy Returned On Energy Invested (EROEI), including some of the practical aspects of building and operating a SUTPP. The best glass SUTPP studied had an EROEI of 7, comparable to photovoltaic power generation. Use of ethylene tetrafluoroethylene (ETFE) raised that to 14, approaching wind power (18), and permitted an EROEI of 10 for an airflow regulated SUTPP capable of baseload power or of shifting some generation to peak demand times. The collector was the largest contributor to life cycle impacts. Sites with risk of damaging hail should be avoided. Glass and ETFE offer favorable combinations of durability and recyclability. Evidence is cited suggesting the collector needs a cleaning system. Design strategies to facilitate cleaning and employ ETFE are discussed. Areas requiring further research have been identified and recommendations have been provided, along with the most promising SUTPP configurations based upon this research.<br>Thesis (M.S.)--Wichita State University, College of Engineering, Dept. of Mechanical Engineering

The aim of this thesis is to evaluate ORC systems and technologies from an energy and economic perspective. ORC systems are a growing renewable electricity generation technology, but New Zealand has limited local skills and expertise for identifying ORC resource opportunities and subsequently developing suitable technologies at low cost. For this reason, this thesis researches ORC technology, resource types, and international development, with the aim to determine guidelines for how to cost-effectively develop ORC systems, and to make recommendations applicable to furthering their development within a New Zealand context. This thesis first uses two surveys, one of commercial ORC installations, and a second of economic evaluations of ORC systems in literature, to determine what resources and economic scenarios are supportive of commercial development. It is found that geothermal resources provide the largest share of ORC capacity, with biomass and waste-heat recovery (WHR) being developed more recently. The surveys also found that countries with high electricity prices or policy interventions have developed a wider range of resources using ORC systems. This thesis then undertakes an EROI evaluation of ORC electricity generation systems using a combination of top-down and process based methodologies. Various heat sources; geothermal, biomass, solar, and waste heat are evaluated in order to determine how the utilised resource can affect energy profitability. A wide range of EROIstnd values, from 3.4 – 22.7 are found, with solar resources offering the lowest EROIs, and geothermal systems the highest. Higher still EROI values are found to be obtainable with longer system lifetimes, especially for WHR systems. Specific engineering aspects of ORC design and technology such as high-side pressure, heat storage, modularity, superheating, pinch-point temperature difference, and turbine efficiency are evaluated in terms of economic performance, and a variety of general conclusions are made about each. It is found that total system thermo-economic optimisation may not lead to the highest possible EROI, depending on the objective function. Lastly, the effects of past and potential future changes to the markets and economies surrounding ORCs are explored, including the New Zealand electricity spot price, steel and aluminium prices, subsidies, and climate policy. Of the subsidy types explored, it is found that directly subsidising ORC system capital has the greatest effect on the economic performance of ORC systems, as measured by common metrics. In conclusion, this thesis finds that ORC systems have a limited applicability to New Zealand’s electricity market under current economic conditions outside of geothermal and off-grid generation, but changes to these conditions could potentially make their development more viable. The author recommends that favourable resources should be developed using systems that provide high efficiencies, beyond what might provide the best economic performance, in order to increase EROI, and reduce the future need for costly investments into increasingly less favourable resources.

Thesis (Ph. D.)--Illinois State University, 2006.<br>Title from title page screen, viewed on April 27, 2007. Dissertation Committee: C. Anita Tarr (chair), Roberta Seelinger Trites, Jan Christopher Susina. Includes bibliographical references (leaves 197-208) and abstract. Also available in print.

Plato’s Socrates is famous for claiming that “I know one thing: That I know nothing” (see e.g. Ap. 21d and Meno 81d). There is one subject that Socrates repeatedly claims to have expertise in, however: ta erôtika (see e.g. Symp. 198d1). Socrates also refers to this expertise as his erôtikê technê (Phdr. 257a7–8), which may be translated as “erotic expertise”. In this dissertation, I investigate Socrates’ erotic expertise: what kind of expertise is it, what is it constituted by, where is it put into practice, and how is it practiced? I argue that the purposes this expertise serve are, to a significant extent, educational in nature. After first having clarified the dissertation’s topic and aim, as well as my methodological approach, I present an initial account of erôs and Socrates’ erotic expertise. While discussing what constitutes Socrates’ erotic expertise, I account for two erotic educational methods: midwifery and matchmaking. I further argue that these methods tend to be accompanied by two psychological techniques, namely charming and shaming. I argue that these methods and techniques are systematically applied by Socrates when he puts his erotic expertise into practice. In the dissertation, three dialogues where Socrates practices his erotic expertise are scrutinized: Lysis, Charmides, and Alcibiades I. I focus on Socrates’ encounters with the eponymous youths of the dialogues, and each dialogue is devoted a chapter of its own. I show how these dialogues are erotically charged, and also how Socrates in these dialogues demonstrates his erotic expertise. I argue that Socrates’ expertise on erôs plays an essential role in his attempts to engage the three youths in the processes of self-cultivation, learning, and the very practice of philosophy. In the final chapter of the dissertation I turn to some questions that arise in light of my readings, and summarize the results of my investigation.

This Master of Fine Arts thesis is divided into four main sections:FAITH and DISBELIEF: In which I reckon with the implications of faith versus rationality as a secular nontheistic artist. IDEAS: The central locus of my work is a place of indeterminacy between what is known/familiar and what is just one step outside of that. This has nothing to do with mysticism, science fiction, or anything else unmoored from established fact. Section also touches on the particular vantage of a female artist with working class roots.THE WORK: Selection of work made during graduate school, and the the guiding thoughts behind each.EMPTINESS, STILLNESS, ABSENCE, GHOSTS, DOUBT: A discussion of influential artists and ideas.

Le présent travail de thèse est consacré à la question du désir et à la façon dont elle émerge dans la philosophie de Giordano Bruno (1548-1600). En dépit de sa place relativement marginale dans le corpus très vaste des études bruniennes, et malgré sa présence non immédiatement évidente dans les écrits du Nolain, nous pensons qu’une recherche sur le statut du désir peut ouvrir une perspective pertinente et radicale sur la pensée de ce philosophe de la Renaissance tardive. Loin d’être une question accessoire, le désir se situe au coeur de la philosophie de Bruno et incarne le rythme immanent de sa spéculation. Face au thème capital de la nolana filosofia – la modalité à travers laquelle le fini réalise et exprime l’infini – la question du désir nous ouvre des chemins suggestifs à travers l’imposante oeuvre de l’ex-moine dominicain. Nous avons abordé ce sujet sous plusieurs perspectives, toujours attentifs à exprimer le caractère systématique sus-jacent à la grande ampleur des thématiques que l’on trouve dans les écrits du philosophe. Nous avons préféré procéder de manière diachronique, en privilégiant une approche conceptuelle plutôt qu’un exposé de la philosophie brunienne dans son déroulement chronologique. Nous nous sommes d’abord penchés sur un traité tardif, la Lampas triginta statuarum, où le désir apparaît comme la force qui amène les « ténèbres »indistinctes à exprimer la richesse infinie de formes qu’elles renferment en puissance. Dans les dialogues cosmologiques en italien, le désir, force immanente aux révolutions des planètes (qui assurent la succession des saisons et des civilisations), réalise dans chaque être la vicissitude qui lui permet « d’être tout et de devenir tout ». La comédie italienne le Chandelier montre comment la poursuite d’un désir statique, obsessionnel et contraire à la nature amène inévitablement à la perte des personnages qui l’incarnent. Cette même aspiration “civile” sera présente dans le traité magique Des liens où le philosophe-mage s’appuie sur l’amour, « le lien le plus puissant », pour donner vie à une république qui, à travers ses citoyens, reflète la puissance infinie inhérente à la nature. En dernier lieu,nous verrons comment, dans Des fureurs héroïques, l’élan cognitif qui amène Actéon à « devenir nature » correspond à la manière la plus humaine qui soit de réaliser l’infini<br>My PhD dissertation aims at analysing the concept of desire in relation to Giordano Bruno’s philosophy. Despite the relatively marginal place of this issue among secondary bibliography and its not immediately evident presence in Bruno’s works, I think that this kind of research can open apertinent and radical perspective on Bruno’s thought. Far from being a secondary aspect, the desire is at the core of Giordano Bruno’s philosophy and it embodies its immanent rhythm. In relation to the fundamental theme of Bruno’s philosophy – the way in which the finite realises the infinite – the question of desire can disclose to us new perspectives. I have looked at this problem from many perspectives, always attentive to express the systematic character under the great varieties of topicswe can find in the Nolana filosofia. I have proceeded diachronically, privileging a conceptual approach rather than a chronological account of Bruno’s thought. First, I have considered the Lampas triginta statuarum, a late Latin treatise in which the desire appears as the force that leads the tenebræ toexpress the infinity of forms they contain in potentiality. In the cosmological dialogues in Italian, the desire – immanent force that assures planets’ revolutions (and in that way the cycle of seasons andcivilisations) – realises in all the beings the vicissitude that allows it to “be everything and becomeeverything”. The comedy The Candle Bearer shows how the pursuit of a static, obsessional, andunnatural desire causes the loss of the three main characters. We can find the same “civil afflatus” inthe magical treatise De vinculis where the magic-philosopher builds through love (“the most powerfullink”) a republic that, through its citizens, reflects the infinite power of nature. Lastly, we will see how, in The Heroic Frenzies, the cognitive desire that allows the metamorphosis of the hunter Acteon in nature corresponds to the most human way to realise the infinite

碩士<br>國立雲林科技大學<br>視覺傳達設計系碩士班<br>99<br>Conventionally, eroticism is often viewed as an immoral situation which involves sexual behavior or sexual fantasy. Nowadays, the knowledge about sex is widely discussed by the mass media or pornography, and the public can more openly face the sex issue. Advertisements and the image design with erotic topic lead the development of the research on erotology. The research discusses the events and history about erotology and observes its value in the creation of art. The topic of the creation is called “The Erotic View” in which the erotology is transformed into design symbols and art elements by the concept of visual communication design. In addition to discussing the process of designing images, the creation also analyzes the relationship between erotology and image design. There are three sections to complete the creation: 1. brainstorming and experimenting, 2. defining and broadening, and 3. modifying and integrating. The creation is divided into three topics: 1. Intercourse, presenting images of human sexual behavior, 2. Gender Difference, the difference between male and female in terms of their biological and psychological behavior, and 3. View, showing human sense of viewing or being viewed.

This thesis is divided into two volumes, the creative work and the exegesis. The creative work, My ornament, is an Australian novel set in India. It explores - from a feminist perspective - issues of desire, subjectivity, agency and connection among three women and their moving, sexual bodies across time and space. In so doing, its aim is to place women at the centre of literary/critical discourse, emphasising connection rather than differences across cultures. The voices of the two main characters, Rachel and Muddupalani, alternate, cross over, merge and pull apart in the narrative that moves between the 18th and 20th centuries, Australia and India, with the third mythic woman, Radha, a textual presence in the poetry written by Muddupalani. The exegesis constructs an intellectual and fictional genealogy for the novel, situating it in a 21st century discursive space. While it is a work of Australian fiction - with an Australian author and protagonist - I suggest that it contributes to the following writing traditions: South Indian poetics and 18th century culture; Francophone women’s literary theory, in particular ecriture feminine; and notions of 'dancing desire'. This account of choreographing a fiction (of the self within a text) moves along intersecting planes through the liberatory spatio-temporal territory available in cultural nomadism and transnational feminist practice. Together, these two volumes create a new discursive space by linking seemingly disparate elements and fictional characters to create a region in which women - writing and dancing women - can connect and move freely across cultural and time zones; as heterosexual erotic beings, they articulate their desire and reflect it back through their art. It is recommended that the novel be read before the exegesis.

<p>La disertación no define un campo disciplinario, ni una construcción formal, ni una metodología que intente llegar a una verdad racional. Se desobedece la linealidad epistémica occidental y el enfoque en un tema específico. El manuscrito opta por navegar a través de rutas relacionales en conversación desde, con y entre varios saberes y experiencias personales, tribales y comunitarias. Localizamos el andar decolonial en un territorio expandido donde incorporamos una geo-­‐‑política trazada en la continuidad que ofrece la ancestralidad lingüística y cultural entre maya, seminole y loko, esta última conectada a la lengua madre arahuaca que se extiende desde la región amazónica del este de Los Andes, norte de Argentina y Paraguay desde 9000 A.C.</p><p>Al hilvanar experiencias y saberes otros, se establecen conexiones y rupturas más cercanas a los que entendimos como cosmos-­‐‑existencia y cosmoconvivencia en los imaginarios indígenas, afro y US latinxs. La disertación no podrá abarcar todas las rutas y encrucijadas que propician la decolonialidad del imaginario erótico kairibe, pero transito caminos sacbes desde donde los trazos de la memoria y la experiencia sanan la opresión colonial y nutren el andar del espíritu por los saberes inscritos en los relatos de creación indígenas y afro caribe, la oralidad de las lenguas maya yucateca y loko, la expresión de varixs creadores decoloniales, y las conversaciones e intercambios sociales con algunos de los miembros del proyecto decolonial.</p><p>A partir de la propuesta metodológica de Linda Tuhiwai Smith, en la cual se afirma que las metodologías indígenas son el resultado de la elaboración de un tejido, este manuscrito entrelaza una plataforma crítica, una encrucijada de saberes donde confluyen la variabilidad de los proyectos metodológicos propuesto por Tuhiwai Smith (1999), el pensamiento fronterizo de Gloria Anzaldúa (1987), la corpo-­‐‑política de Frantz Fanon (1987), la poética relacional de Edouard Glissant (1997), las pedagogía sagrada de Jacqui Alexander (2005), el desprendimiento, delinking de Walter D. Mignolo (2007), el poder erótico de Audre Lorde (1986), la transmodernidad de Enrique Dussel (2005) y la geopolítica del pensar propuesta por Catherine Walsh (2007).</p><p>Desde esta encrucijada de saberes, la disertación navega el racismo cognitivo eurocentrado, al mismo tiempo que efectúa el desligue epistémico y creativo hacia locaciones otras donde las experiencias y aprendizajes, conectados a las memorias ancestrales de lxs abuelxs, propician la decolonización del imaginario erótico kairibeafroxeri.</p><br>Dissertation

The thesis consists of a creative work, “The Violet Hours,” and its accompanying exegesis, “Of Wounds and Seductions: Erotics, Loss and the Restless (Textual) Body.” The creative work is a hybrid textual body which utilizes various forms of expression – the letter, the diary entry, the fragment, and the prose poem – to perform and to explore a poetics of longing: one anchored in erotic desire, one anchored in mourning and loss. The exegesis aims to investigate the potential for poetic language and poesis to enact and articulate emotional intensities of the body. The exegesis asks: how to approach a poetics of desire? How to approach a poetics of illness, of suffering? What language might emerge from the erotic, desiring body? What language might emerge from the body in mourning, the body that suffers? How has experimental, poetic, and formally innovative literature explored such questions through narrative devices and poetics? Through the trajectory (and “accumulation”) of its parts, the exegesis positions “The Violet Hours” within the realm of postmodernist literatures and feminist experimental writing practices. The creative work and exegesis act together to situate my work within contemporary discussions and literary explorations of language, the body, and emotion. Collectively, these thesis components advocate for the productive, pleasurable, and transgressive potential of language and (textual) bodies.<br>Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2021

Dissertação de Mestrado apresentada ao ISPA - Instituto Universitário<br>Não existem, até ao momento, artigos científicos que tenham analisado o impacto do erotismo nas variáveis que compõem a sexualidade. Neste trabalho, erotismo é definido como um mobilizador do desejo sexual e os estímulos eróticos são definidos como estímulos activadores do desejo e da excitação sexual (Muldworf, 1972; Carvalheira, 1997). Os desajustamentos eróticos são as circunstâncias em que o casal enfrenta desajustamentos erótico-sexuais, devido às diferenças nos seus patrimónios eróticos (Carvalheira, 1997). O objectivo deste estudo exploratório é contribuir para a compreensão dos desajustamentos eróticos na vivência do casal, relacionando-o com a satisfação sexual, o desejo sexual, a frequência de relações sexuais e a comunicação. Cinquenta sujeitos (25 casais) com idades compreendidas entre os 20 e os 59 anos (M = 32,2; DP = 11,6) responderam a um questionário ao mesmo tempo. Todos os casais reportaram algum grau de desajustamento erótico, medida analisada através da discrepância nas respostas dadas na Escala de Estímulos Eróticos (Carvalheira & Godinho, 2014) construída para o presente estudo, sendo que mais de metade dos casais (15) reportam desajustamentos eróticos de uma forma acentuada (> 24). A satisfação sexual está significativamente e negativamente associada com o nível de desajustamento erótico nos homens, mas não nas mulheres. Não se registaram diferenças significativas no desejo sexual e na frequência das relações sexuais. A maioria dos casais comunica os estímulos activadores do seu desejo ao parceiro e registou-se uma relação significativa positiva entre a comunicação dos estímulos eróticos e a satisfação sexual.<br>ABSTRACT: There are, to date, no scientific papers that have analyzed the impact of eroticism in the variables that make up sexuality. In this work, eroticism is defined as a mobilizer of sexual desire and erotic stimuli are defined as activating stimuli of desire and sexual arousal (Muldworf, 1972; Carvalheira, 1997). Erotic mismatches are the circumstances in which the couple faces erotic-sexual maladjustments due to differences in their erotic heritage (Carvalheira, 1997). The purpose of this exploratory study is to contribute to the understanding of erotic mismatches in the experience of the couple, relating it to sexual satisfaction, sexual desire, frequency of sexual intercourse and communication. Fifty 50 subjects (25 couples) aged between 20 and 59 years (M = 32.2, SD = 11.6) answered a questionnaire at the same time. All couples reported some degree of erotic mismatch, as analyzed by the discrepancy in the responses in New Scale of Erotic Stimuli Scale (Carvalheira & Godinho, 2014) built for this study, and more than half of the couples (15) report erotic mismatches in a sharp form (> 24). Sexual satisfaction is significantly and negatively associated with the level of erotic mismatch in men but not in women. There were no significant differences in sexual desire and frequency of sexual intercourse. Most couples communicate the activating stimuli of their desire to partner and there has been a significant positive relationship between the communication of erotic stimuli and sexual satisfaction.

The appearance, use, and philosophy of the disabled detective are latent even in early detective texts, such as in Arthur Conan Doyle’s canonical Sherlock Holmes series. By philosophy, I am referring to both why the detective feels compelled to detect as well as the system of detection the detective uses and on which the text relies. Because the detective feels incompatible with the world around him (all of the detectives I analyze in this dissertation are men), he is driven to either fix himself, the world, or both. His systematic approach includes diagnosing problems through symptomatology and removing the deficient aspect. While the detective narrative’s original framework assimilates bodies to medical and scientific discourses and norms in order to represent a stable social order, I argue that contemporary detective subgenres, including classical disability detective texts, hardboiled disability detective texts and postmodern disability detective texts, respond to this framework by making the portrayal of disability explicit by allocating it to the detective. The texts present disability as both a literary mechanism that uses disability to represent abstract metaphors (of hardship, of pity, of heroism) and a cultural construct in and of itself. I contend that the texts use disability to investigate what it means to be an individual and a member of society. Thus, I trace disability in detective fiction as it parallels the cultural move away from the autonomous individual and his participation in a stable social order and move towards the socially located agent and shifting situational values.

Ce mémoire comprend deux volets : une étude théorique et un texte de création littéraire. Dans un premier temps, il s’agir d’étudier le rôle du désir dans la démarche thématique et philosophique employée par l’écrivain Wilson Harris dans son roman The Palace of the Peacock. Ainsi démonterons-nous dans le premier chapitre que Harris se sert – de façon paradoxale – du désir empirique pour faire valoir les limites mêmes de celui-ci. Nous aborderons dans le deuxième chapitre le rapport problématique qu’entretient, chez Harris, la subjectivité féminine avec la subjectivité masculine. En particulier, nous examinerons la représentation de ce rapport sous la forme de métaphores ayant trait à l’environnement et à l’anatomie. Nous avancerons que le caractère problématique que revêt le rapport entre subjectivités féminine et masculine dans le roman est en quelque sorte nécessitée par l’écriture même de Harris. Dans le troisième chapitre, nous prendrons part aux débats sur la poétique qui animent la littérature contemporaine afin de situer notre propre élan vers la création littéraire. En même temps, nous entreprendrons une tentative de récupération de certains des concepts théoriques formulés par Harris, en lien avec notre propre poétique. S’ensuivra notre projet de création littéraire, intitulé HEROISM/EULOGIES, qui constitue le quatrième et dernier chapitre du mémoire. Ce texte, extrait d’un projet d’écriture créative plus vaste, trace les mouvements d’un certain nombre de sujets à travers une Amérique imaginée.<br>This study contains two parts: a theoretical component and a literary text. The theoretical component discusses desire as a thematic and philosophical methodology in Wilson Harris’s The Palace of the Peacock. Chapter one argues that Harris paradoxically makes use of forms of empirical desire to demonstrate its epistemological limits. Chapter two discusses the problematic situation of female subjectivity in relation to male subjects, through environmental and anatomic metaphors, which Harris’s writing necessitates. Chapter three discusses contemporary poetics in order to situate my impetus for literary writing and attempts to salvage some of Harris’s theoretical concepts in dialogue with my own poetics. Chapter four contains the creative writing project, HEROISM/EULOGIES—an excerpt from a larger project—that charts the movement of various subjects across an imagined American landscape.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.<br>Nous proposons dans ce travail que l’artiste Egon Schiele (1890-1918) a su exprimer l’ambivalence et l’angoisse entourant la question de la sexualité à Vienne au début du XXe siècle, plus spécifiquement à travers ses œuvres érotiques féminines sur papier réalisées en 1910-1911. À cette époque, des discours polarisés essentialisant la femme et sa sexualité se développent, notamment dans les sphères de la psychanalyse et de la philosophie continentale. La liberté sexuelle des jeunes femmes est réprimée et l’accès à l’information sur la sexualité leur est refusé. Pour les hommes, il s’avère ardu de concilier les propos puritains prônant l’abstention et leurs pulsions et curiosité libidinales, qui ne peuvent être assouvies que secrètement auprès de prostituées. Pour plusieurs, une vie sexuelle active devient synonyme de maladies vénériennes et de déchéance sociale. C’est en favorisant une approche théorique psychanalytique et féministe, portant sur le regard confronté au corps sexué, que nous étudions les modes d’adresse s’établissant entre les modèles, le spectateur et l’artiste à travers ce corpus, afin de mieux comprendre les affects particuliers et les bouleversements des traditions phallocentriques mis de l’avant par Schiele. Ce mémoire considère qu'en optant pour une représentation plastique du corps féminin dérangeante et constamment variable, de même qu’en interpellant ses contemporains de façon ambiguë grâce à des dispositifs visuels hybrides, le jeune artiste a su ébranler l'autorité traditionnelle du spectateur/voyeur masculin face à l’objet de désir féminin. Il serait ainsi parvenu à critiquer l'hypocrisie et l'inconfort identitaire et sexuel dominants au tournant du siècle.<br>In the present work, we argue that the artist Egon Schiele (1890-1918) was able to express the ambivalence and anxiety surrounding the topic of sexuality around 1900 through his erotic drawings of female nudes, especially those produced in 1910-1911. In the early twentieth century, in Vienna, essentialist and polarized concepts about women and female sexuality are developed, especially in the fields of psychoanalysis and continental philosophy. Young women are denied access to any kind of sexual knowledge or experimentation. Meanwhile, men are torn between austere discourses preaching abstention and their sexual urges and curiosity; many must secretly resort to prostitutes in order to satisfy their impulses. For most, an active sex life implies venereal diseases and social decay. While referring to psychoanalytical and feminist theories about the gaze and its encounter with the carnal body, we have studied the spectatorial relationships established between the models, the spectator and the artist across this corpus, in order to better understand the repudiation of the phallocentric traditions as proposed by Schiele. We believe that by representing the female body in disturbing and inconstant esthetic manners, as well as by reaching out to his contemporaries in ambiguous ways through hybrid visual devices, the young artist was able to undermine the traditional authority of the male viewer over the feminine object of desire. In so doing, Schiele managed to criticize the prevailing hypocrisy and discomfort regarding sexual identities and practices at the turn of the century.