Academic literature on the topic 'Erotic drawing'
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Journal articles on the topic "Erotic drawing"
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Møller, Kristian. "Digital chemsex publics: Algorithmic and user configurations of fear and desire on Pornhub." European Journal of Cultural Studies 24, no. 4 (June 3, 2021): 869–86. http://dx.doi.org/10.1177/13675494211006679.
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In recent years, chemsex has emerged as both a subcultural vernacular and an orientation device for gay health promotion. Chemsex loosely describes gay men using certain drugs to extend and modulate group sex practice. In line with hegemonic responses to gay sexuality in general, most research has been grounded in problematisation, with discourse mostly returning to the question of containment. Drawing on porn, platform and critical drug studies, this article offers a corrective approach by defining a networked, cultural study of chemsex that is attuned to how chemsex erotics operate in many different (digital) intimate publics. Assembling algorithmic search suggestions, 41 videos and 450 comments, the article finds that the videos and comments found through the search function are vastly different than those found through user-generated playlists. Two competing publics form around the fear/desire-response to drug use: a cautious erotic of disinhibition and a counterpublic erotic of transgression.
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Takemoto, Tina. "Drawing Complaint." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 84–107. http://dx.doi.org/10.1163/23523085-00101005.
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Matthew Barney’s 2006 solo exhibition at the San Francisco Museum of Modern Art showcased large-scale sculptures, drawings, and photographs relating to his filmDrawing Restraint 9featuring the artist and his partner Björk on a whaling ship in Japan. This essay examines Barney’s neo-Orientalist project in light of cultural appropriation and discusses the author’s participation inDrawing Complaint: Memoirs of Björk-Geisha,a guerrilla art scheme to interrupt the exhibition opening. The successes and failures of this intervention are considered alongside other artistic practices that deploy disidentification and hyperracial drag to interrogate the consumption of exotic and erotic spectacles only to encounter further exotification or cooptation. This essay also reflects on the instability of disidentificatory interventionist tactics as well as the psychic and personal toll of embodying toxic representations especially for queer artists of color who deliberately perform their own racial and sexual abjection as a mode of critique.
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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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ANDERSON, ELLIE. "Autoeroticism: Rethinking Self-Love with Derrida and Irigaray." PhaenEx 12, no. 1 (May 23, 2017): 53–70. http://dx.doi.org/10.22329/p.v12i1.4767.
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Eros is often considered to be a desire or inclination for what is irreducibly other to the self. This view is particularly prominent among philosophers who reject a “fusion” model of erotic love in favor of one that foregrounds the difference between lovers. Drawing from this “difference” model, I argue in this essay that autoeroticism is a genuine form of Eros, even when Eros is understood to involve irreducible alterity. I claim that the autoerotic act is not adequately captured by traditional views of masturbation, where it is seen as distinct from the erotic encounter with another being. Instead, I employ Derrida and Irigaray to argue that the autoerotic act is auto-hetero-erotic, which depends on a view of the self as self-othering and heterogeneous.
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Petersen, Frederik. "TRIANGULATION AND REPRESENTATION." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (March 31, 2011): 67–72. http://dx.doi.org/10.3846/tpa.2011.08.
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The erotic triangulation consisting of lover, beloved, lover’s image of beloved is a mechanism that automates a projection of self into a desired subject. The projection is provoked by the partly imaginary but reality inspired reconstruction of the beloved that takes place in the lover. The geometric construction is an attempt to categorize and name the elements we experience as seduction. One thing we can learn from the erotic geometry is that seduction is not exterior to the lover; it is instigated by him and takes place in him. This change in vantage point can be considered a sleight of hands. I choose to see it as an opportunity to consider the erotic ruse as a tool that can draw the observer into the ideas proposed in drawing of a space or drawing of a building, while using the observer’s empathy to generate meaning in a drawing that contain patches of yet indeterminate spaces, unknown programmatic functions and propositional subject matter that is ambiguous. The content of the triangulation (lover, beloved, image) is thus replaced by observer, drawing, and the observer’s projected image of the drawn proposition (this strategy can be described shorter and in terms familiar to the production of drawn exploratory propositions for architecture: fake it till you make it, or, keep drawing even if you have only a vague idea of what it is you are giving form, step back and allow yourself to add meaning to the drawn content with guidance from the detached spectator’s empathy). Caught in desire the lover is intensely present and vividly emphatic to what he desires. Through a number of drawn investigations I explore if a similar engagement between the observer and the imaginary content of the drawn architectural proposal can be a way into sealing or diminishing the gap between representation and realization, thus unloading the pressure from the representational yoke prominent in the production of architecture. Santrauka Straipsnyje nagrinėjamos architektūrinių piešinių prasmės. Meninio tyrimo pagrindu tampa autoriaus grafinėmis priemonėmis sukurti, tačiau fotografijų pavidalu pristatomi kūriniai, balansuojantys tarp piešinio atvaizdo ir paties piešinio. Eksperimentinės kūrybos procesas ir rezultatas yra apmąstomi, kontekstualizuojami ir konceptualiai plėtojami remiantis nevienalyčiais humanitariniais tekstais: Peterio Cook’o, Anne Carson, Rebeccos Solnit, Kester Rattenbury, taip pat Alfredo Hitchcock’s Vertigo filmo analize. Tiriamojo pobūdžio architektūrinius piešinius bandoma interpretuoti pasitelkiant trianguliacijos, kuri įvardijama kaip erotinė, analitinę struktūrą. Geometrinė schema naudojama siekiant apibrėžti reprezentacijos proceso komponentus: architektūrinį piešinį, jo suvokėją ir suvokėjo subjektyvų patyrimą, juos įvardijant kaip mylintįjį, mylimąjį ir mylimojo vaizdinį, ir išsiaiškinti jų sąveikos principus bei galimybes. Atskleidžiama, kad ši trinarė sąveikos struktūra yra dinamiška ir atvira, leidžianti naujai interpretuoti tai, kas vyksta daugiareikšmėje terpėje tarp reprezentacijos (idėjos vaizdavimo) ir architektūrinės realizacijos. Ieškoma galimybių išlaisvinti architektūrinį piešimą iš žanro suvaržymų, jam suteikiant suvokėjo kuriamų vaizdinių projektavimo plokštumos, savotiško geismo generatoriaus, lemiančio aktyvų suvokėjo dalyvavimą kūrybiniame procese, statusą. Daroma išvada, kad kuriančio piešimo naudojimas mažina atotrūkį tarp atvaizdo ir realizacijos, daro jį ne mažiau svarbiu realybės formantu nei realūs architektūriniai objektai.
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Linares Flores, Martha Patricia. "The Solution for Girls with No Sex Appeal: The Ironized Yeast – A Multi Modal Discourse Analysis of Vintage Advertisements." Open Journal for Anthropological Studies 7, no. 2 (August 7, 2023): 31–46. http://dx.doi.org/10.32591/coas.ojas.0702.01031l.
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This paper presents a discourse analysis of three vintage advertisements for Ironized Yeast using Multi Modal Discourse Analysis and Critical Discourse Analysis. Drawing on the concept of erotic capital by Hakim (2011), the study explores how these advertisements exploit women’s insecurities about their body shape while offering a solution that goes beyond physical attractiveness. The analysis reveals that the advertisements promote the idea that women can leverage their erotic capital to enhance their sex appeal, thereby increasing their chances of success in the dating and marriage market. This research examines the construction and perpetuation of the seductive power associated with a curvy figure. The findings highlight the intricate interplay between discourses of attractiveness, power dynamics, and societal expectations, urging critical reflection on the influence of such representations on individuals and broader social dynamics.
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Janowitz, Naomi. "Erotic Love Magic and the Problem of Female Agency." Gnosis 7, no. 1 (March 10, 2022): 102–13. http://dx.doi.org/10.1163/2451859x-00701007.
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Abstract Drawing Down the Moon is an outstanding contribution to the contemporary debate about ritual practices and magic. My review focuses on two intersecting points, the definition of magic as discourse in Chapter One and the analysis of “love charms and erotic curses” in Chapter Four. I begin with the second issue, the category love magic, and will return to the first, magic as discourse, at the end. I have a fairly narrow point to make about the category love magic: the modern classification incorporates but does not sufficiently analyze ancient notions of agency. On the issue of definitions of magic, Edmonds’s careful study reveals the problems of classifying rituals based on a narrow notion of discourse.
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Weitzer, Ronald. "Interaction Rituals and Sexual Commerce in Thailand’s Erotic Bars." Journal of Contemporary Ethnography 50, no. 5 (May 15, 2021): 622–48. http://dx.doi.org/10.1177/08912416211017253.
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This article explores bar prostitution as a distinct sexual arena. Drawing on fieldwork in six red-light districts in Thailand, the article identifies key structural and interactional features of the bars located in these areas. The analysis draws on an “interaction rituals” framework to elucidate scripted encounters between workers and customers, successive ritual chains, and the way departures or “broken chains” help to confirm the existence and vitality of normative chains. I argue, further, that the bars are organized around a distinctive moral economy—a courting-and-dating model—that allows sex workers and their clients to simultaneously downplay their involvement in prostitution and form affective ties with one another. Due to this framing, bar prostitution can be distinguished from most other types of prostitution, where opportunities for destigmatization are either minimal or nonexistent.
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Pangle, Lorraine Smith. "Eros and Polis: Desire and Community in Greek Political Theory." Canadian Journal of Political Science 37, no. 3 (September 2004): 777–78. http://dx.doi.org/10.1017/s0008423904430108.
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Eros and Polis: Desire and Community in Greek Political Theory, Paul W. Ludwig, Cambridge: Cambridge University Press, 2002, pp. xiii, 398In Eros and Polis, Paul Ludwig explores a rich array of issues relating to eros, homosexuality, and pederasty and their implications for republican political life. He examines ancient accounts of eros and its relation to other forms of desire, to tyranny and aggression, to spiritedness and the love of one's own, and to bonds of affection between citizens. He discusses ancient attempts to overcome the divisiveness of the private realm by controlling erotic relations between citizens, both in practice (such as at Sparta) and in theory (Plato's Republic). He concludes with a critique of the attempt of Thucydides' Pericles to stir up erotic desire and harness it in the service of the city, and of the erotic passion implicit in the attraction to foreign customs and sights. Ludwig draws upon a wide range of ancient sources including Homer, Sophocles, Aristophanes, Herodotus, Xenophon, Plato, Aristotle, Thucydides, Lucretius, and many others. But he does not limit himself to textual analysis; much of the book is devoted to putting these texts in historical context, and much is also devoted to drawing connections between ancient thoughts and practices and the concerns of contemporary political theory.
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Jameson, Jonathan. "Erotic Absence and Sacramental Hope: Rowan Williams on Augustinian Desire." Anglican Theological Review 102, no. 4 (September 2020): 575–95. http://dx.doi.org/10.1177/000332862010200409.
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Both church and culture seem perplexed by desire and what it says about us as human beings. Amid the increasing freedom to identify with our desires, there remains the perpetual problem of insatiety, coupled with the increasing isolation of a digitalized age. Our cultural and religious impulses become blurred as we seek always a little more, in our hopes that we might finally quiet our ontological restlessness. Rowan Williams, drawing from Augustine, identifies this restlessness as central to understanding ourselves and our relation to God and others. This erotic absence that disallows any premature closure offers not satiety but sacrament, and a place in a body larger than our own.
Dissertations / Theses on the topic "Erotic drawing"
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Marcoux, Gabrielle. "Regards croisés sur le corps féminin dans les dessins érotiques d’Egon Schiele (1910-1911)." Thèse, 2014. http://hdl.handle.net/1866/11125.
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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.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.
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.
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"VISIONS OF DISORDER: SEX AND THE FRENCH REVOLUTION IN A SUITE OF EROTIC DRAWINGS BY CLAUDE-LOUIS DESRAIS." Texas Christian University, 2008. http://etd.tcu.edu/etdfiles/available/etd-05082008-103332/.
Full textBooks on the topic "Erotic drawing"
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Migliorisi, Ricardo. Trazos, trozos y laberintos. Asunción, Paraguay: Centro de Artes Visuales/Museo del Barro, 1998.
Find full textBook chapters on the topic "Erotic drawing"
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Edmonds III, Radcliffe G. "Bewitched, Bothered, Bewildered: Love Charms and Erotic Curses." In Drawing Down the Moon, 91–115. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691156934.003.0004.
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This chapter focuses on erotic magic. While there is no way to judge, from a modern perspective, whether any of this erotic magic “worked,” from the standpoint of cultural history one can nevertheless conclude that erotic magic was a real part of the Greco-Roman world, both in the imagination of its possibilities and in the practices of those seeking extraordinary solutions to the endless problems that can arise in erotic relationships. The evidence, in literature and in epigraphic sources, provides insights into those problems as well as into the ways people thought those problems might be solved. This material is a rich source for the understanding of ancient Greco-Roman sexualities, providing glimpses of the underlying patterns of erotic behavior, both in the fantasies of the ancient Greeks and Romans and in the realities of their relationships. The social location of the performer is particularly interesting in erotic magic, since the literary evidence would suggest that erotic magic is generally associated with the objectively profane: the female, the old, the foreign. In reality, however, both males and females made use of erotic magic.
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"4. Bewitched, Bothered, Bewildered: Love Charms and Erotic Curses." In Drawing Down the Moon, 91–115. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691186092-007.
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Sides, Josh. "Sex Radicals and Captive Pedestrians." In Erotic City, 45–82. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195377811.003.0003.
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Abstract When she was a blonde, doe-eyed teenager, Carol Doda’s future was not bright. A high-school dropout from Napa County, she landed in the Tenderloin in the early 1960s, where she quickly found a roommate and friend in a male hairstylist who shared his makeup tips with her. Doda fell in love with her roommate and became inconsolably jealous about his mysterious preference for male company. Her love unrequited, Doda took a job as a dancing cocktail waitress at the Condor go-go bar in North Beach and moved into the district. “Big” Davey Rosenberg, a corpulent, hard-nosed club promoter, saw great profit potential in Doda and encouraged her to perform her dance in one of designer Rudi Gernreich’s new “topless” bathing suits. On June 22, 1964, the twenty-year-old Doda metamorphosed from ingénue to internationally renowned sexual spectacle when she took to the stage at the Condor and revolutionized the local burlesque show circuit by baring her breasts in their entirety during her performance of the “swim” dance. She brazenly tossed aside the pasties that striptease dancers had worn for most of the century. Shortly thereafter—also at Rosenberg’s urging—Doda received one of the first silicone breast augmentations, increasing her modest bust size to a double D. Doda’s likeness, depicted on a forty-foot sign complete with red, illuminated nipples, towered over the intersection of Columbus Avenue and Broadway Street and became a landmark, drawing throngs of locals and tourists alike.
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Pérezts, Mar, and Emmanouela Mandalaki. "Queering Organizational Appearances through Reclaiming the Erotic." In The Oxford Handbook of Phenomenologies and Organization Studies, 364—C18.P139. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780192865755.013.20.
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Abstract The ways in which organizational phenomena manifest or appear to us, unavoidably echo the inter-corporeal experiences of the involved parties, including those of the researcher, who later writes about them. However, despite dealing with issues of sensorial perception and an embodied presence in the world, phenomenological reflections often remain paradoxically ‘disembodied’. This paradox, seldom voiced or addressed explicitly, carries numerous power implications in terms of what is rendered visible and what is, on the contrary, invisibilized in everyday organizational life but also in Management and Organization Studies (MOS) research. Drawing inspiration from feminist phenomenology, and in particular Sara Ahmed’s work on queering phenomenology and Audre Lorde’s perspectives on the erotic, we make a case for an erotic approach to phenomenology. This erotic angle leads us to avoid considering bodies as abstract existences, considering them instead as agentic and relational (i.e. desiring) subjectivities in their nakedness, diversity, and gendered character. We problematize the sexual gaze that traditionally associates nakedness with inferior representations of the erotic associated to shame and objectified vulnerability and identify perspectives for writing phenomenally (about) organizational phenomena through an embodied knowledge stripped of the traits of the dominant masculine academic order. By queering organizational appearances, the erotic then becomes a source of power, and unveils a myriad unseen and therefore unproblematized questions for phenomenological approaches in MOS.
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Knoll, Gillian. "The Physics and Metaphysics of Metaphor." In Conceiving Desire in Lyly and Shakespeare, 29–41. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428521.003.0009.
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This section argues that Lyly’s and Shakespeare’s characters process and experience eros through the primary metaphor of motion. These introductory pages explore the philosophical and conceptual underpinnings of this metaphor through the example of Shakespeare’s Angelo in Measure for Measure. Drawing from the work of cognitive linguistics George Lakoff, Mark Johnson, and Zoltan Kövecses, this section explores the broad metaphorical structures that shape Angelo’s erotic experience as both a passion and an action. Things happen within Angelo well before he ‘acts out’ his sexual pursuit of the novitiate Isabella. The remainder of this section investigates the relationship between erotic potentiality and actuality, or entelechy, in Aristotle’s Physics and Metaphysics. In Aristotle’s writings, as in Shakespeare’s play, the boundary between potency and actuality is fluid rather than fixed. As a result, Angelo’s metaphors dramatize the capacity of erotic potentiality to create drama. For him, as for so many of Lyly’s and Shakespeare’s characters, desire is itself a frenzied action.
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Knoll, Gillian. "The ‘Raging Motions’ of Eros on Shakespeare’s Stage." In Conceiving Desire in Lyly and Shakespeare, 67–96. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428521.003.0003.
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Chapter 2 studies Shakespeare’s metaphors of stillness and motion in Measure for Measure and Othello. While some of Shakespeare’s characters are immobilised by erotic desire, others experience desire as a stirring, physically moving, experience. For Angelo, Claudio, and Othello, it is both. In both Measure for Measure and Othello, Shakespeare’s metaphors trace the fine line that separates the extremity of erotic motion (chaos, convulsions, compulsivity) from the extremity of stasis (death, violent restraint). If over such extremes Shakespeare’s characters have little control, they nonetheless attempt to exert some degree of agency by reaching for certain knowledge, attempting to understand the aetiology and significance of their lustful impulses. Drawing on the work of Stanley Cavell, Emmanuel Levinas, and Jean-Luc Marion, this chapter considers the ontological and ethical consequences of metaphors of stillness and motion. The concluding pages explore a form of heightened erotic activity based on Aristotle’s writings on entelechy. For characters such as Desdemona, Juliet, and Cleopatra, ‘entelechial desire’ is conceptualised through metaphors of perpetual, if paradoxical, motion.
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Brickley, London. "Tales from the Operating Theater: Medical Fetishism and the Taboo Performative Power of Erotic Medical Play." In Diagnosing Folklore. University Press of Mississippi, 2015. http://dx.doi.org/10.14325/mississippi/9781496804259.003.0010.
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In chapter 9, “Tales from the Operating Theater: Medical Fetishism and the Taboo Performative Power of Erotic Medical Play,” London Brickley invites readers into a fetishist community revolving around medical practices and disability where participating individuals are acutely aware of the stigmas, boundaries, and taboos of the physically disabled and mentally ill. With special consideration placed upon the relationship between the subset of individuals who have experienced disability (and/or those that yearn to), with the nuances of their physical and erotic conditions, Brickley demonstrates that fetishes are not simply deviated sexual practices, but complex constructs of identity and chosen experience. By drawing attention to perceptions of what is sexually attractive, she also points out the bias that the disabled body is unattractive, demonstrating that this ability to either see beyond the disability or find it arousing is the primary reason for the label of deviant sexual behavior.
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Högberg, Elsa. "Woolf, De Quincey and the Legacy of ‘Impassioned Prose’." In Sentencing Orlando. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414609.003.0004.
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In this chapter, Elsa Högberg illuminates Woolf’s sensual, lyrical writing in light of its contact with Thomas De Quincey’s ‘impassioned prose’, drawing out the erotic and political dimensions of the book as a gift to Sackville-West. Examining the dream-like, visual and musical aspects of a long sentence at the end of Chapter V, Högberg considers the gender politics involved in Woolf’s appropriation of De Quincey’s prose style. In Högberg’s reading, the lyricism of Orlando unravels the time of the legal sentence, and thereby the logic by which aesthetic and material property is passed down an exclusively male line of inheritance.
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Kirichenko, Alexander. "Memory and Desire in Callimachus." In Greek Literature and the Ideal, 173–200. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866707.003.0011.
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Abstract The chapter begins by drawing an analogy between Callimachus’ portrayal of Alexandria in the Aetia and the Iambi (a city not only literally inhabited by Greek immigrants but also figuratively woven out of their cultural memories) and his notion of poetry as a site of intertextual memories. Then it points to similarities between the process of recollecting the spatially and temporally remote world of Greek culture, staged in Callimachus’ aetiological poetry, and the process of longing for an ever-elusive beloved—a process that Callimachus not only describes but also enacts in his erotic epigrams by parading them as epitomes of semantic elusiveness.
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Stafford, Emma J. "Plutarch on Persuasion." In Plutarch’s Advice to the Bride and Groom and A Consolation to His Wife, 161–72. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195120233.003.0011.
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Abstract The ancients set Hermes at Aphrodite’s side, knowing that the pleasure of marriage needed his word more than anything, and with them they set Persuasion and the Graces, that married couples might gratify their desire with each other by persuasion, not in conflict or quarrelsomeness. In the opening paragraph of the Advice, Plutarch adduces the religious practice of “the ancients” in support of the proposition that harmony in marriage should be sought by means of mutual persuasion. In the immediate context of the quote this “persuasion” seems to be of an erotic variety, since its goal is gratification of desire, but such a preference for persuasion over confrontation in general is a feature of the essay. Plutarch’s advice on the subject is drawing on a long tradition of the “persuasion (peitho) against force (bia)” argument, a commonplace of classical rhetoric. His application of such ideas to the context of marriage, however, is informed by a further set of traditional associations which emphasize persuasion’s erotic side: Peitho, persuasion personified, was worshipped alongside Aphrodite and may have had a part to play in classical Greek wedding ritual.
Conference papers on the topic "Erotic drawing"
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Hill, Davion M., and Carey King. "Using the Energy Intensity Ratio as an Assessment Tool for Near Term US Energy Strategy in Transportation and Petrochemicals." In ASME 2011 5th International Conference on Energy Sustainability. ASMEDC, 2011. http://dx.doi.org/10.1115/es2011-54349.
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Conventional fuels such as oil, natural gas, and coal have historically provided reasonable financial returns on investment as well as energy returned on energy invested (EROEI), despite the fact that continuous financial and energy inputs are required to use these fuels. Besides EROEI, the energy intensity ratio (EIR) is another measure for energy use and economics. The EIR is the ratio of energy bought per dollar to the energy it takes to make a dollar in the economy. In this case we are considering the cost of petroleum per barrel, and therefore we are discussing EIRp or EIR of oil based upon price. The EIRp is related to historical economical data and conclusions will be drawn about the value of EIRp as an economic indicator. Then, EIRp will be used as a tool to demonstrate the value of shifting energy resources from petroleum to alternatives, specifically for transportation and petrochemicals. The considerations for modern economic conditions as they compare to historical economic conditions will be explained, and the viability of policy and alternative technological transportation scenarios will be described in terms of EIRp and its relationship to vehicle miles travelled.
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Abdullah, Md Abu Shahid. "“Indeed, the King has a Cunt! What a Wonder!”: Sex, Eroticism and Language in One Thousand and One Nights." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.1-1.
Full textAbstract:
One Thousand and One Nights, which can be traced back to as early as the 9th century, is probably the greatest introduction to Arabic culture through literature. This colossal and diverse book has drawn the attention of scholars, researchers and students to classic Arabic literature as well as influenced many prominent authors and filmmakers. It is not just a book of careless and unconnected stories but rather a piece of esteemed literature which has been read and analysed in many countries all over the world. However, it is also true that this book has been criticised for its sexual promiscuity and degraded portrayal of women. The aim of the presentation is to prove that underneath the clumsy and seemingly funny structures of One Thousand and One Nights, there is a description of overflowing sexuality. Through the sexualised or erotic description of female bodies, the book gives agency to women but at the same time depicts them derogatively, and thus fulfils the naked desire of the then patriarchal society. The presentation will highlight how sexual promiscuity or fathomless female sexual craving is portrayed through figurative and grammatical language, which objectifies the female characters but at the same time enables them to be playful with the male characters, and thus motivates them to become more powerful than the males. Finally. the presentation will focus on language or narrative as an act of survival from the perspectives of the female characters, which is most evident in the case of Scheherazade who saved not only her life but also lives of countless maidens by her mesmerizing storytelling talent.