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Journal articles on the topic 'Erotic art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Hemingway, Séan. "ROMAN EROTIC ART." Sculpture Review 53, no. 4 (December 2004): 10–15. http://dx.doi.org/10.1002/j.2632-3494.2004.tb00171.x.

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2

Caranfa, Angelo. "Glimpses of Silence." Religion and the Arts 21, no. 4 (2017): 490–513. http://dx.doi.org/10.1163/15685292-02104002.

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This article interprets Klee’s journey into art in the context of the mystical teachings of Nicolas Berdyaev (1879–1940) and Klee’s trip to Italy. Berdyaev connects creativity with “divine Eros.” Therefore the creative act is erotic in nature. Klee’s art embodies Berdyaev’s creative ideal through an erotic love that he personally experiences, but that also has to pass through the fire of purification, of self-renunciation, of humility, and of asceticism in order that it might be transformed into creative love. The article suggests that Klee’s trip to Italy transforms Klee’s erotic energy into a creative or spiritual love, which his art illustrates.

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3

Goodrich, Peter H. "The Erotic Merlin." Arthuriana 10, no. 1 (2000): 94–115. http://dx.doi.org/10.1353/art.2000.0003.

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4

Kenyowati, Embun. "ESTETIKA SENI EROTIS (EROTICA) : REPOSISI OTONOMI DAN HETERONOMI SENI ( UNTUK PERMASALAHAN ESTETIKA SENI EROTIS YANG DIANGGAP PORNOGRAFI)." Jurnal Dimensi Seni Rupa dan Desain 8, no. 2 (September 1, 2011): 11–22. http://dx.doi.org/10.25105/dim.v8i2.987.

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AbstractThis article discusses and reflect philosophically the aesthetic of erotic art phenomenon with considered as pornography by part of the member of society , which also has caused horizontal real conflict, because it is considered as inferting ethical ( moral) and political domain.Starting from the distiction between the aestheticof art based on the maxim " art for the art'sake " which is requested whether it is an adequate reason for defending the aesthetic of aerotic art. By refering to Jacques Ranciere (born 1940) through as a theory , about the autonomy and heteronomy of art, it is concluded that he probloem of erotic art which considered as pornography not far from the problem in life it self and the going politics that works in society, primarily when the politician nort giving attention to teh politic of esthetic (aesthetics) but functioning the role of aesthtic to the politics ( politics) and always in the position of controversy and polemik about politic only AbstrakTulisan ini membahas dan mereflesikan secara filosofis. fenomena estetika seni erotis yang dianggap porno oleh sebagai masyarakat, yang telah menimbulka real conflict di tingkat horizontal, karena hal tersebut dianggap sebagai bagian ranah etik (moral) dan politik ( hidup bersama dengan orang lain) Berangkat dari perbedaan antara estetika seni erotis dan pornografi, dalam tulisan inidiuraikan tentang apa itu estetika seni, seni erotis dan porogarfi. Argumen kebesan ekspresi dalam seni, dan otonomi seni yang berdasar slogan seni untuk seni diuraikan dan dipertanyakan kembali apakah mencukupi sebagai dasar pembelajaran bagi estetika seni erotis. Dengan menacu pada pemiikiran Jaqcus Rancier ( lahair 1940) sebagai metode reflektif, tentang otonomi dan heteronomi seni, disimpulkan bahwa persoalan seni erotis yang dianggap pornografi oleh sebagian masyarakat, tidak lepas dari persoalan kehidupan itu sendiri dan politik yang mewarnai masyarakat, terutama ketika para politisinya tidak memperhatikan politik estetik ( estetika) , melainkan lebih memainkan peran estetik politik ( politik) yang berkutat di wilayah kontroversi dan polemik belaka

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5

Levinson, Jerrold. "Erotic Art and Pornographic Pictures." Philosophy and Literature 29, no. 1 (2005): 228–40. http://dx.doi.org/10.1353/phl.2005.0009.

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6

Strepetova, T., D. Trotta, G. Florio, L. Cleffi, and A. Mangone. "Do Erotic Art and Sexuality Have Something to Share?" Klinička psihologija 9, no. 1 (June 13, 2016): 104. http://dx.doi.org/10.21465/2016-kp-op-0078.

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Objective: The connection between art and sexuality has always been considered to be solid. Even Freud once said to turn to poets to better understand human sexuality. While in classical Freudian orthodox psychoanalysis is used to understand and explain artworks, we think that the observation of erotic art can be useful in the understanding of human sexuality. Design and Method: Several painters and their erotic production are object of our reflections. Their artistic creations (paintings, drawings, sculptures, collages etc.) are sometimes direct and explicit, other times conceptual and symbolic. Results: The encounter of the artistic work stimulates, in most cases and in the majority of the viewers, an emotional response. People reactions correlate not only to their personal sexual inner world but also to specific erotic themes. Conclusions: The observation and study of erotic art can be useful in our understanding of sexuality and develop our capacity to relate to our sexuality.

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Grasmo, Hanne, and Jaakko Stenros. "Nordic Erotic Larp: Designing for Sexual Playfulness." International Journal of Role-Playing, no. 12 (October 5, 2022): 62–105. http://dx.doi.org/10.33063/ijrp.vi12.292.

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Erotic larp is an emerging trend in the Nordic countries. Sexuality and socio-dramatic play have been combined in numerous ways in the past; what is new about this concentration of erotic embodied adult pretend play is that it is emerging from a culture of reflexive, critical, and bespoke design, as a tradition of art games. By studying 25 design abstracts of Nordic art larps from the last decade, this article seeks not only to map, classify, organize, and understand the phenomena of erotic larp design, but to discuss how norms of sexuality are reflected in the Nordic larp community through looking at how sexuality is thematised, described, signalled, and designed. The analysis in this article is rooted in game studies and informed by sexuality studies. In the design abstracts, we uncover how sexuality is thematised by the designers and signalled to the players, as well as how larp rules, mechanics, and expectations are designed for erotic role-play interactions. The article shows that a Nordic tradition of larps with design for erotic and sexual play has emerged during the 201 Os, how new larp mechanics scaffold erotic role-play in ways that give room for sexual arousal through layered alibis, and that these form of larps are inclusive of people of marginalised genders and sexualities, as well as of sexual kinks. The discussion also addresses the tension between liberation and oppression of sexuality in erotic larp design, as well as tensions around player agency and compelling game mechanics.

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8

yang, nel. "Arousal and Elicitation: Photographic Performativity in FinDom." Master, Vol. 5, no. 2 (2020): 70–77. http://dx.doi.org/10.47659/m9.070.art.

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Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition. Keywords: desire, fetish, photographic performativity, critique, masculinity, financial domination

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9

Adams, Gavin. "Duchamp's Erotic Stereoscopic Exercises." Anais do Museu Paulista: História e Cultura Material 23, no. 2 (December 2015): 165–85. http://dx.doi.org/10.1590/1982-02672015v23n0206.

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ABSTRACT: This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.

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10

Kukorenchuk, Volodymyr, Nataliia Vdovychenko, and Valeriia Bondar. "Master’s Photo Art Project ‘Erotica in Photography: from Analog to Digital’. Part 1." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 88–103. http://dx.doi.org/10.31866/2617-2674.5.1.2022.257183.

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The author’s idea. The idea of this Master’s Photo Art Project was to create an erotic photographic work, namely such images that contain elements of fine art, which are closely intertwined with the myths and legends of ancient Greece. Throughout photographic history, both historical aspects and stylistic images of the visual art of each era are explored and intersect.

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11

Joyce, Ryan. "Erotic Islands: Art and Activism in the Queer Caribbean." Black Scholar 50, no. 4 (October 1, 2020): 77–80. http://dx.doi.org/10.1080/00064246.2020.1811607.

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12

Corry, Maya. "The Sublime Divinity: Erotic Affectivity in Renaissance Religious Art." Arts 13, no. 4 (July 17, 2024): 121. http://dx.doi.org/10.3390/arts13040121.

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In the context of the Catholic Reformation serious concerns were expressed about the affective potency of naturalistic depictions of beautiful, sensuous figures in religious art. In theological discourse similar anxieties had long been articulated about potential contiguities between elevating, licit desire for an extraordinarily beautiful divinity and base, illicit feeling. In the later fifteenth and early sixteenth centuries, in the decades preceding the Council of Trent, a handful of writers, thinkers and artists asserted a positive connection between spirituality and sexuality. Leonardo da Vinci, and a group of painters working under his aegis in Lombardy, were keenly aware of painting’s capacity to evoke feeling in a viewer. Pictures they produced for domestic devotion featured knowingly sensuous and unusually epicene beauties. This article suggests that this iconography daringly advocated the value of pleasurable sensation to religiosity. Its popularity allows us to envisage beholders who were neither mired in sin, nor seeking to divorce themselves from the physical realm, but engaging afresh with age-old dialectics of body and soul, sexuality and spirituality.

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13

Diabate, Naminata. "Nudity and Pleasure." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 152–66. http://dx.doi.org/10.1215/10757163-8308270.

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Cultural products and discourses about erotic pleasure have recently proliferated, leading to what the author calls “the pleasure turn.” In studies of African culture, “the pleasure turn” can be read as decentering the dominant paradigm that has mostly associated black nakedness with negative emotions: sorrow, pain, and humiliation. Illustrative of the turn is the 2009 exhibition Beauty and Pleasure in South African Contemporary Art, which considered pain and suffering as overrated and sought to provide a more accurate picture of life on the continent as a mix of pleasure and pain. This article closely reads the South African multimedia artist Dineo Bopape’s 2008 Silent Performance, alongside Berni Searle’s 2001 politically charged Snow White, to point out their generative potential for the intersection of the visual media, erotic pleasure, and nudity. Traditional views of pleasure have avoided the nexus of erotic pleasure and the visual because of their historical association with nineteenth-century scientific racism. The author argues Bopape’s and Searle’s images exceed a single and stable interpretation. By inserting their (semi-)naked bodies as central images, they invite yet resist unwanted readings of erotic pleasure in their works. Incorporating her analysis of these works into her conceptualization of images of black female nudity in art, the author proposes that a robust attention be given the visual image in the rising conversation on pleasure in African studies.

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14

Murphy, Michael D. "Eroticism of postmodern libertinage on the example of work of the contemporary female artists Alice Neel, Hannah Wilke, Judy Chicago." CONTEMPORARY ART, no. 18 (November 29, 2022): 97–106. http://dx.doi.org/10.31500/2309-8813.18.2022.269713.

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The subject of the article is the erotic genre in work of the American female artists Alice Neel, Hannah Wilke, Judy Chicago. The analysis of their visual imagery from feminist discource perspective is carried out. Methodological point of view represented in the article permits to reveal generalizing constants of analysis of contemporary visual erotica through the prism of main author concepts: “visual libertinage”, “deconstruction of body”, “emotive corporality”. The principle of postmodernist visual libertinage as a methodological technique to formulate a “female” look at corporality in their works is generalized. The influences of their artistic imagery on forming of the bases of three waves of the American feminist movement are considered: accordingly, A. Neel influences the principles of woman body visualization of the first wave, Hanna Wilke — the second, and Judy Chicago — the third one. The principles of self-presentation of the body through actionism and self-expression through nudity characteristic of their work are revealed. We prove that by these methods of work with corporality the artists violated the convention of social norm and puritan morality in relation to naked body, forming aesthetic of visual embodiment of the female body. The problem of comparison of erotic genre in contemporary American art with corresponding works of the Ukrainian artists is also claimed. The feminist principles to present body by the female artists became basic for forming the “Ukrainian body”: this experience had some followers in the 90’s, but as a meaningful and consistent program begins to be implemented in the Ukrainian art context in 2000–2010.

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15

Lucie-Smith, Edward. "Eros and innocence." Index on Censorship 26, no. 2 (March 1997): 139–44. http://dx.doi.org/10.1177/030642209702600237.

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Images of childhood in western art reflect society's changing attitudes to children. While the erotic force of past masters is beyond reproach or banishment, the intrusion of the camera provokes outrage and censoriousness

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16

Hunter, Matthew. "Talk That Talk." Representations 148, no. 1 (2019): 1–29. http://dx.doi.org/10.1525/rep.2019.148.1.1.

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This essay draws upon the work of Erving Goffman and Michael Silverstein to read Shakespeare’s first poem as a guide to mastering the burgeoning early modern art of conversation. The epyllion follows the conversation manuals of its day in embracing the aphorism as a charismatic form of talk, but it departs from its precedents in attributing to the aphorism an overtly erotic force. By according to the aphorism the power to turn conversation into an erotic encounter, Venus and Adonis elaborates its period’s most seductive fantasy of talk.

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Fiorenza, Giancarlo. "Paludanus, alabaster, and the erotic appeal of art in Antwerp." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 67, no. 1 (October 25, 2017): 286–309. http://dx.doi.org/10.1163/22145966-90000799.

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18

Jones, Malcolm. "Folklore Motifs in Late Medieval Art III: Erotic Animal Imagery." Folklore 102, no. 2 (January 1991): 192–219. http://dx.doi.org/10.1080/0015587x.1991.9715820.

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19

Hofmann, Wilhelm, Malte Friese, and Tobias Gschwendner. "Men on the “Pull”." Social Psychology 40, no. 2 (January 2009): 73–78. http://dx.doi.org/10.1027/1864-9335.40.2.73.

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In the present study, we adapted and validated a measure of automatic approach-avoidance tendencies toward sexual stimuli in a male heterosexual sample (N = 29). As expected, automatic approach-avoidance tendencies, as measured via push and pull reactions in a joystick task, primarily predicted an unobtrusive measure of the time participants viewed erotic slides but not a more deliberate measure of forced-choice between an erotic and an art calendar. Conversely, participants’ explicit attitudes primarily predicted the forced-choice measure but not viewing time. Furthermore, automatic approach-avoidance tendencies discriminated reliably between those participants who were and those who were not currently engaged in a romantic relationship.

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20

Hamimed, Nadia. "Dorothea Tanning: Erotic and Dark Aesthetics." International Journal of Applied Linguistics and English Literature 11, no. 4 (July 31, 2022): 34–40. http://dx.doi.org/10.7575/aiac.ijalel.v.11n.4p.34.

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Inspired by the greatly stimulating psycho-dramas of gothic and erotic fiction and the revolutionary potential of Surrealism, Dorothea Tanning renovates images which aim to go into the nature of feminine (and infancy) sensual and corporal experience, falling down the frontier between the real world and imagination pro a smooth inventive world wherein all odds can imaginably exist. The most famous work of Tanning art is perhaps the one from the 1940s where the artist utilizes a specific vivid approach to represent eroticism. Nevertheless, in deviating from this method to a further theoretical way, the woman artist scatters her wish to depict the gothic just as she was illustrating a gothic tale, to remind the gothic appreciation of difference and disintegration via pensiveness. An erotic charge throbs throughout Tanning’s work; youthful girls’ clothes seem ragged and hair tackled a lavish life of its own as the boundary between inexperience and knowledge becomes blurred. A power rises above the specifically erotic and turns out to be a more broad desire to live in any of its demonstrations.

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Castaldo, Daniela. "Musical Themes and Private Art in the Augustan Age." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 96–114. http://dx.doi.org/10.1163/22129758-12341314.

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Abstract Some musical themes represented in terra sigillata reflect the political propaganda of the Augustan regime, as in the presence of Apollo citharoedus, of Sirens and of Hercules with the Muses. This visual repertory shares many features with the Augustan poets (especially the elegists) and with other private art of the Augustan period. Arretine ware potters often included Dionysiac, symposiastic and erotic scenes in their repertory, moving well beyond Augustus’ official program. They recall formal and cultural models of the Hellenistic era.

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22

Mattiacci, Angela. "Erotic Dawn-Songs of the Middle Ages. Voicing the Lyric Lady by Gale Sigal." Arthuriana 7, no. 1 (1997): 136. http://dx.doi.org/10.1353/art.1997.0025.

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23

Middleman, Rachel. "A Feminist Avant-Garde: Martha Edelheit's “Erotic Art” in the 1960s." Konsthistorisk tidskrift/Journal of Art History 83, no. 2 (April 3, 2014): 129–47. http://dx.doi.org/10.1080/00233609.2014.901413.

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24

Mahon, Alyce. "The Domestic as Erotic Rite in the Art of Carolee Schneemann." Oxford Art Journal 40, no. 1 (March 2017): 49–64. http://dx.doi.org/10.1093/oxartj/kcx006.

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Rudski, Jeffrey M., Lauren R. Bernstein, and Joy E. Mitchell. "Effects of Menstrual Cycle Phase on Ratings of Implicitly Erotic Art." Archives of Sexual Behavior 40, no. 4 (April 5, 2011): 767–73. http://dx.doi.org/10.1007/s10508-011-9756-y.

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26

Buszek, Maria Elena. "Mirror, Mirror: Joanna Frueh as Fairy Stepmother." TDR/The Drama Review 55, no. 2 (June 2011): 104–13. http://dx.doi.org/10.1162/dram_a_00073.

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For over 20 years, scholar and performance artist Joanna Frueh has been a pioneering force in feminist art and criticism. In homage to Frueh's “erotic scholarship,” Frueh's own writing and performances concerning relationships between women are interwoven with a biographical history of the author and the artist's own student/teacher relationship.

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zulabueva. "Exhibitions." Museum Worlds 6, no. 1 (July 1, 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm

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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.

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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.

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Bondarenko, Lyudmila K. "Pathways towards Objectivization of Art Expert Conclusions on the Evaluation of Pornographic Materials." Theory and Practice of Forensic Science 12, no. 2 (June 30, 2017): 47–52. http://dx.doi.org/10.30764/1819-2785-2017-12-2-47-52.

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The paper examines the problem of evaluating the findings of artwork examination in terms of its scientific objectivity. Current negative trends in judicial proceedings in Russia are analyzed in connection with incorrect determination of the subject of forensic artwork analysis. Formal criteria distinguishing between different domains of social conscience are used to identify objective features that help to differentiate between pornographic materials and erotic artwork.

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Haughton, Ann, and Ann Haughton. "Myths of Male Same-Sex Love in the Art of the Italian Renaissance." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (September 17, 2015): 65–95. http://dx.doi.org/10.31273/eirj.v3i1.126.

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Visual culture has much to contribute to an understanding of the history of sexuality. Yet, to date, the depiction of pederasty in the art of the Renaissance has not been covered adequately by dominant theoretical paradigms. Moreover, the interpretive approach of traditional art historical discourse has been both limited and limiting in its timidity toward matters concerning the representation of sexual proclivity between males. This article will address the ways in which Italian Renaissance artistic depictions of some mythological narratives were enmeshed with the period’s attitudes toward sexual and social relationships between men.Particular attention is paid here to the manner in which, under the veneer of a mythological narrative, certain works of art embodied a complex set of messages that encoded issues of masculine behaviour and performance in the context of intergenerational same-sex erotic relationships. The primary case studies under investigation for these concerns of gender and sexuality in this particular context are Benvenuto Cellini’s marble Apollo and Hyacinth (1545), and Giulio Romano’s drawing of Apollo and Cyparissus (1524). By incorporating pictorial analysis, social history, and gender and sexuality studies, new possibilities will be offered for evaluating these artworks as visual chronicles of particular sexual and cultural mores of the period. Furthermore, this article will consider how visual representation of these mythic narratives of erotic behaviour between males conformed to the culturally defined sexual and social roles relating to the articulation of power that permeated one of the greatest milestones in art history.

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31

Corcinschi, Nina. "Eros - from heros to performance." Philologia, no. 2(314) (August 2021): 22–30. http://dx.doi.org/10.52505/1857-4300.2021.2(314).02.

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Cornul inorogului (The Unicorn’s Horn) by Bogdan Cretu imposes a new episteme of eros: the experiment that tests the body, which removes taboos, prejudices and shows how far one can compete with one’s own body. Intimacy is the only space in which the truth can be articulated, in which you can still be identical with yourself, contemporary with what you are in essence. The novel is also a journey in the history of erotic imaginary; it is a reinvention of the impediment and a rediscovery of erotic tension and intensity. The characters are projections of mythological consciousness, from the perspective of which art is always in full synchrony with life. Cornul inorogului (The Unicorn’s Horn) is a novel about eros, death, literature and the electrifying connections between them.

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Elise, Dianne. "Moving from Within The Maternal." Journal of the American Psychoanalytic Association 65, no. 1 (February 2017): 33–60. http://dx.doi.org/10.1177/0003065116688460.

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With Kristeva’s concept of maternal eroticism (2014) as starting point, the “multiverse” of mother/child erotic sensibilities—the dance of the semiotic chora—is explored and a parallel engagement proposed within the analytic dyad. The dance of psychoanalysis is not the creative product of the patient’s mind alone. Clinical work invites, requires, a choreographic engagement by the clinician in interplay with the patient. The clinician’s analytic activity is thus akin to choreography: the structuring of a dance, or of a session, expresses an inner impulse brought into narrative form. The embodied art of dance parallels the clinician’s creative vitality in contributing to the shaping of the movement of a session. Through formulation of an analytic eroticism, the terrain of what traditionally has been viewed as erotic transference and countertransference can be expanded to clinical benefit.

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Lawrence, O’Neil. "Through Archie Lindo’s Lens." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (November 1, 2020): 143–63. http://dx.doi.org/10.1215/07990537-8749830.

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The “creation” of Jamaican national identity owed much to the artistic movement that preceded and followed independence in 1962. While depictions of the peasantry, particularly male laborers, have become iconic representations of “true” Jamaicans, the scholarship surrounding these works has conspicuously ignored any erotic potential inherent in them. Using the contemporaneous, mostly private homoerotic photographic archive of Archie Lindo as a point of entry, this essay questions and complicates the narrative surrounding nationalist-era art in Jamaica, particularly the ways the black male body was mobilized in the development of Jamaican art and visual culture.

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34

Marshall, David W. "The Erotic in the Literature of Medieval Britain ed. by Amanda Hopkins and Cory James Rushton." Arthuriana 17, no. 4 (2007): 122–23. http://dx.doi.org/10.1353/art.2007.0035.

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Trotta, D., and T. Strepetova. "P-02-012 Erotic art: as a way to better understand sexuality." Journal of Sexual Medicine 14, no. 4 (April 2017): e185-e186. http://dx.doi.org/10.1016/j.jsxm.2017.03.212.

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Scala, Elizabeth. "Ovid’s Art and the Wife of Bath: the Ethics of Erotic Violence." Journal of English and Germanic Philology 108, no. 1 (January 1, 2009): 120–23. http://dx.doi.org/10.2307/20722710.

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Jones, Amelia. "Holy Body:." TDR/The Drama Review 50, no. 1 (March 2006): 159–69. http://dx.doi.org/10.1162/dram.2006.50.1.159.

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Expanding on Ron Athey's legacy of exposing the holiness of his body in body art performances, and on Julianna Snapper's training as an opera singer, Judas Cradle evokes relations of desire, connection, and repulsion. Holy Body takes off from the queer ethics proffered by Judas Cradle through a rapturous and sometimes pained interpretive hysteria directed toward affirming the erotic ethics implicit in the piece.

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Hyman, Aaron M. "Brushes, Burins, and Flesh." Representations 134, no. 1 (2016): 1–28. http://dx.doi.org/10.1525/rep.2016.134.1.1.

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This essay examines the erotic works produced collaboratively by members of Karel van Mander’s so-called “Haarlem Academy” to suggest that early modern art making created a space in which slippages could occur between homosocial relationships and homoerotic practices. Hierarchical power relations inherent to collaboration, and to early-modern precursors to formalized academies, facilitated these dynamics because they structurally replicated essential conditions of homoerotic relationships. In turn, the piece proposes ways in which formal readings of works coupled with the interrogation of collaborative artistic production can help explore how works of art do more than index homoerotic relationships and, instead, instantiate them.

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Todi, Cristina. "Ipostases of The Choreographic Dialogue." Review of Artistic Education 17, no. 1 (March 1, 2019): 171–82. http://dx.doi.org/10.2478/rae-2019-0018.

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Abstract The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.

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Felleman, Susan. "Dirty Pictures, Mud Lust, and Abject Desire: Myths of Origin and the Cinematic Object." Film Quarterly 55, no. 1 (2001): 27–40. http://dx.doi.org/10.1525/fq.2001.55.1.27.

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In three films about artist couples——Artemisia (1997), Camille Claudel (1988), and Life Lessons (1989)——cinema is shown allegorically through art as the progeny of sexual coupling. In each, the nature of the relationship——its romantic, psychosocial, and sexual aspects——suggests larger issues relating to the experience of film, as though each was a myth of the origins of film, or a primal scene. The couples personify the ultimately erotic act of filmmaking even as they reveal the peculiar sensibilities of each film's maker, be those involved with the quasipornographic experience of looking, the fetishistic interest in technique and handling, or heroic passions and valorization of gesture.

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Dean, Tim. "Sex and the Aesthetics of Existence." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 387–92. http://dx.doi.org/10.1632/pmla.2010.125.2.387.

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Leo Bersani's contributions to Queer Theory have been essentially traumatic. Ever since “Is the Rectum a Grave?,” with its startling opening sentence (“There is a big secret about sex: most people don't like it” [197]), Bersani's writing on sexuality has disrupted the conceptual coordinates of queer theory, a field that officially welcomes the disruptive. What has made Bersani hard to assimilate is less his psychoanalytic emphasis on the ineluctable masochism of sexuality (a principal reason for the aversion to sex) than his insistent conceptualization of sexuality in aesthetic terms. Although his work has never shied from the rebarbative aspects of erotic life, it is, in fact, Bersani's speculations about relationality as irreducibly aesthetic that have proved tougher for the field of queer theory to countenance. (Queer theorists take sexual variance in stride; we have a harder time dealing with art.) It is not merely that Bersani draws examples from literature, painting, sculpture, and cinema when discussing erotic relationality. More fundamentally, his earlier work claimed that art has effects on the human subject akin to those of sexuality, while his later writing proposes a specifically aesthetic subjectivity—rather than the sexual kind—as the preferred basis for relating to the world beyond the self.

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Kane, D. "STEPHEN FREDMAN. Contextual Practice: Assemblage and the Erotic in Postwar Poetry and Art." Review of English Studies 62, no. 255 (March 26, 2011): 497–500. http://dx.doi.org/10.1093/res/hgr028.

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Lara, Ana-Maurine. "Erotic Islands: Art and Activism in the Queer Caribbean, by Lyndon K. Gill." New West Indian Guide / Nieuwe West-Indische Gids 93, no. 3-4 (December 5, 2019): 373–74. http://dx.doi.org/10.1163/22134360-09303046.

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Lurati, Patricia. "‘To dust the pelisse’: the erotic side of fur in Italian Renaissance art." Renaissance Studies 31, no. 2 (March 6, 2017): 240–60. http://dx.doi.org/10.1111/rest.12293.

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Yearwood, Gabby M. H. "Erotic Islands: Art and Activism in the Queer Caribbean by Lyndon K. Gill." Anthropological Quarterly 92, no. 4 (2019): 1301–7. http://dx.doi.org/10.1353/anq.2019.0074.

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Bajor, Jan. "Ukryta strona fandomu – rzadkie i nienormatywne motywy seksualne w sztuce i literaturze fanowskiej." Forum Socjologiczne 8 (April 24, 2018): 37–50. http://dx.doi.org/10.19195/2083-7763.8.3.

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The hidden side of the fandom — rare and nonnormative sexual themes in the fan-created art and literatureFor a few decades now amateur erotic art and literature is present on large scale in many fan communities, showing great diversity in forms of expression and subjects. Significant portion of them includes rare or nonnormative sexual themes. The goal of this article is to pinpoint main causes of this exceptional popularity of such themes in online fandom. Doing this, I will focus on two aspects of the problem: general characteristics of fandoms as internet communities and the specificity of the media fan culture, as it developed during half a decade of its existence.

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Imko, Sandra Katarzyna. "Unravelling the Interplay between Materials, Senses and Perception in Magdalena Abakanowicz’s Weaving Art." Roczniki Kulturoznawcze 15, no. 1 (March 29, 2024): 71–88. http://dx.doi.org/10.18290/rkult24151.4.

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This article comprehensively studies the multisensual experience in Magdalena Abakanowicz’s weaving art. While previous research in this context has focused on the erotic nature of her works, this study addresses the broader aspect of multisensual engagement. Drawing on a phenomenological approach and the philosophical contributions of Maurice Merleau-Ponty, it explores Abakanowicz’s involvement in creative and exhibition practices. The research incorporates insights from scholars such as Richard Shusterman, Mark Paterson and art historians. Using art historical analysis and direct haptic contact with Abakanowicz’s works, the study analyses the materials and techniques of three fabric types. The findings reveal that the enduring interest in the artist’s work lies in anthropomorphising quality that activates viewers’ senses, fostering a profound connection between the audience and art. The article demonstrates how Abakanowicz skilfully influences viewers’ senses and emotions through material choices, techniques, and personal involvement. Ultimately, it highlights the significance of considering sensory reflection as a crucial aspect of art historical analysis.

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Bottenberg, Laura. "Pseudo-Lucian’s Cnidian Aphrodite: A Statue of Flesh, Stone, and Words." Millennium 17, no. 1 (November 9, 2020): 115–38. http://dx.doi.org/10.1515/mill-2020-0005.

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AbstractThe aim of this paper is to analyse a literary response to antiquity’s most alluring work of art, the Cnidian Aphrodite. It argues that the ecphrasis of the statue in the Amores develops textual and verbal strategies to provoke in the recipients the desire to see the Cnidia, but eventually frustrates this desire. The ecphrasis thereby creates a discrepancy between the characters’ aesthetic experience of the statue and the visualisation and aesthetic experience of the recipients of the text. The erotic mechanisms of the ecphrasis, simultaneously arousing and frustrating the recipients’ desire, mirror the effect of the statue on its viewers and disclose the erotic programmatics of the whole dialogue. The analysis shows that the Amores surpass the ongoing discourse on love from Plato’s Phaedrus to the ancient novel – and Achilles Tatius and Longus in particular. The Amores, like the nude statue of the Cnidia, threaten to cross all bounds of decency in sexuality.

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Freitas, Roger Freitas. "The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato." Journal of Musicology 20, no. 2 (2003): 196–249. http://dx.doi.org/10.1525/jm.2003.20.2.196.

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This study suggests that, against the background of early modern views of sexuality, the castrato appears not as the asexual creature sometimes implied today, but as a super-natural manifestation of a widely-held erotic ideal. Recent work in the history of sexuality has shown the prevalence in the early modern period of the "one-sex" model, in which the distinction between male and female is quantitative (with respect to "vital heat") rather than qualitative. This model provides for a large middle ground, encompassing prepubescent children, castrati, and other unusual figures. And that middle ground, in fact, seems to have been a prime locus of sexual desire: the art, literature, and historical accounts of the period argue that boys especially were often viewed -perhaps by both sexes-as erotic objects. Further evidence suggests that this sexual charge also applied to castrati. The plausibility of such an erotic image is strengthened by investigation into the actual sexual function of these singers, which seems to have fallen somewhere between historical legend and modern skepticism. Finally, a survey of castrato roles in opera, from Monteverdi to Handel, shows how these singers were deployed and suggests that their popularity could not have depended entirely on vocal skills. Instead, I argue that castrati were prized at least in part for their unique physicality, their spectacularly exaggerated embodiment of the ideal lover.

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Korte, Anne-Marie. "Between art and ritual." Approaching Religion 12, no. 3 (November 7, 2022): 94–114. http://dx.doi.org/10.30664/ar.115442.

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This article analyses the short performances of Drag Sethlas at the yearly Gran Canaria Drag Queen Contest in Spain (2017–20) from the perspective of religious studies and gender studies, following on from an earlier article in which this case was explored in light of the severe blasphemy accusations (by local and national bishops and lay organisations) against the 2017 show. These short performances consist of remarkable representations of Roman Catholic texts, saints, symbols and rituals acted out as prize-winning drag-queen shows that were aired on national television. At the same time, these acts are situated, by reference to famous earlier controversial acts by the pop artists Madonna, Lady Gaga and Ariana Grande, in a genealogy of provocations and blasphemy accusations that are currently made in North American and Western European countries. In exploring the forms of ritualisation (cf. Bell 1989) in the provocation that this type of popular artistic performance with strong religious connotations evokes, I show the presence of a double theatricality in Sethlas’s first and most controversial performance: on the one hand a ‘holy drama’ centred around a religious pattern of penance, repentance and redemption, and on the other hand a specific drag theatricality, with its parodies, mockery and daring erotic scenes. It is precisely the connection between both forms of theatricality, especially the representation of the Virgin Mary and Jesus, who play a large and special role in both forms of theatricality, that contributes most to the provocativeness of this scene.

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