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Journal articles on the topic 'Erotic drawing'
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1
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.
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Ge, Liang. "Problematizing heteronormativity: Performativity, resignification and A/B/O fiction in Chinese danmei literature." East Asian Journal of Popular Culture 7, no. 2 (October 1, 2021): 241–54. http://dx.doi.org/10.1386/eapc_00051_1.
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The literary form of danmei, in which male–male romance and/or erotica is portrayed, is a flourishing genre in China which has received significant attention from academia in recent years. This article focuses on a notorious subgenre of danmei, A/B/O fiction, which introduces three additional sexes, alpha, beta and omega, into mankind, alongside the male/female binary sex/gender system. By focusing on a popular but atypical example of this subgenre, this study aims to contribute to the understanding of how female danmei writers constantly question the hierarchical and heteronormative system in the A/B/O world and interrogate the fixed identities of gender, sexuality and class, by imagining love, sex and intimacy among male protagonists. Drawing on Judith Butler’s gender performative theory and resignification politics, this article suggests that the behaviour of the characters in these texts engenders reciprocal and equal relationships, reverses the various heteropatriarchal norms through the employment of technology, and questions the compulsory regulatory power embodied in the biological pheromone in A/B/O. Simultaneously, this study also identifies the notion of ‘love’ itself as a limiting factor of this genre of male–male romantic and/or erotic writing.
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Kokkola, Lydia. "Directions of Desire: Reading the Adolescent Body." International Research in Children's Literature 16, no. 1 (February 2023): 16–29. http://dx.doi.org/10.3366/ircl.2023.0485.
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In Queer Phenomenology, Sara Ahmed discusses the spatial dimensions of orientation, asking not only ‘What does it mean to be oriented?’ but also ‘What does it mean for sexuality to be lived as oriented? What difference does it make what or who we are oriented toward in the very direction of our desire?’ (1). This article uses Ahmed's idea of sexual orientation as a form of way-finding to consider how masturbation might be considered a form of orientation that is particularly relevant for teenagers learning to understand their pubescent bodies and their desires. The concept is developed through an analysis of how Emilia – the teenage protagonist of the Finnish novel Huhtikuun Puutarha [April garden] by Leena Leskinen – uses her desire to find her way. The novel contains several erotic descriptions of sexual acts, designed to titillate the readers of the novel. Drawing on research within the field of embodied cognition, the article concludes with an examination of how the written word stimulates the body. The aim is to see how onanistic reading is promoted in Finnish YA fiction and to suggest that erotica for teens has many benefits.
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Martin, Jarred H. "Exploring gender subversion and recuperation in anal fisting among gay men." South African Journal of Psychology 50, no. 3 (December 9, 2019): 336–46. http://dx.doi.org/10.1177/0081246319888975.
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Anal fisting among gay men, that is, the sexual(ised) and erotic (single or partnered) practice of inserting the hand(s) and/or forearm(s) into the anus and rectum, has historically been framed in medical and medico-forensic case studies as a violent and dangerous sexual practice associated with the contraction of disease, heightened risk of sexual injury, and the possibility of death. In contrast to this, pro-Queer scholars of gender and sexuality have conceptually reframed the act of anal fisting among gay men as a subversive sexual practice which in its discursive and material performances radically transgresses the heteronormative tropes which typically underwrite human sex/uality, especially in ways that render the preferred representations of (gay) sex as ‘vanilla’. By drawing from unstructured individual interviews with a sample of eight (self-identifying) South African gay men who regularly incorporate anal fisting into their sexual relations, this study explores the gendered contradictions which rhetorically circumscribe how these men discursively construct and experience the corpo-erotic practice of anal fisting. In doing so, the findings highlight that while anal fisting among gay men may in fact engender shades of a sexually subversive practice by the way it radically (re)makes the material and erotic possibilities and connections of gay men’s bodies in exceptionally non-normative and perhaps Queer ways; it is, at the same time, also invested with, and reiterative of, discursive repertoires which actively recuperate heteronormative as well as heteromasculinist tropes and gendered power relations that, in some instances, appear femiphobic.
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Sutherland, Keith. "Divine Madness On the Aetiology of Romantic Obsession." Journal of Consciousness Studies 29, no. 1 (January 15, 2022): 79–112. http://dx.doi.org/10.53765/20512201.29.1.079.
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The paper opens with a brief overview of 'limerence' or obsessive love disorder (OLD) from the perspectives of psychology, neurology, anthropology, and sociology, but concludes that certain unique characteristics of the condition suggest that it is better understood as a form of 'divine madness', resulting from the failure of the Platonic ascent of love to follow its natural trajectory. The paper focuses on Plotinus's model of the erotic ascent from the one to the ONE, drawing parallels with the Indian bhakti tradition and other models derived from transpersonal psychology. The final section explores the distinction between pagan and Christian Platonism and the entailments of the latter for secular perspectives on love.
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Kahr, Brett. "Promiscuous virgins and celibate whores: traumatic origins of the erotic tumour." Journal of Psychological Therapies 4, no. 2 (September 30, 2019): 105–19. http://dx.doi.org/10.33212/jpt.v4n2.2019.105.
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Sexual oppression bedevils men, women, and children far too frequently. Throughout the course of human history, innocent people have suffered grossly from traumatising acts of child sexual abuse, rape, eroticised bullying, and even sexual enslavement. More recently, with the advent of modern technologies, young and old alike have come to endure sexual oppression through cyber-bullying and through the manufacture and distribution of child pornography. But sexual oppression can also be a state of mind, and one can struggle with oppression in the complete absence of any obvious external traumata. In this article, the author will consider the many ways in which human beings become oppressed by private sexual fantasies and desires which result in shame, in attacks on intimacy, in the cessation of sexual activity, or in the indulgence in addictive and destructive sexuality: symptomatic states which often serve as unconscious repetitions of early trauma. In particularly severe instances, the sexual fantasy constellation becomes so pathogenic that it threatens the very life of the individual and his or her partners. The author has referred to this type of deeply entrenched sexual fantasy as the “erotic tumour”. Drawing upon clinical and research materials, we will explore some of the painful and deadly paradoxes of human sexuality and discuss the ways in which psychotherapists can intervene more effectively to reduce the traumaticity of erotic tumours and other dangerous states of mind.
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Hoang, Kimberly Kay. "Engendering Global Capital: How Homoerotic Triangles Facilitate Foreign Investments into Risky Markets." Gender & Society 34, no. 4 (August 2020): 547–72. http://dx.doi.org/10.1177/0891243220931502.
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Engaging with the work of C. Wright Mills and Eve Sedgwick, in this article I theorize how homoerotic relations facilitate the flow of global capital into risky market economies. Drawing on interview data with more than 60 financial professionals managing foreign investments in Vietnam, I examine the co-constitution of gender and global capital by identifying three categories of deal brokers. System maintainers are men and women who accept that women’s bodies are necessary for male homosocial bonding between political and economic elites. System transformers are men and women who disrupt the status quo and develop alternative ways of deal brokering outside of erotic spaces. System defectors are those break the triangle altogether and work to create new markets.
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Nelson, Meredith P. "Chains of gold: female status and the Roman 'catena' in the early Imperial period." Acta ad archaeologiam et artium historiam pertinentia 33, N.S. 19 (August 1, 2023): 215–31. http://dx.doi.org/10.5617/acta.10442.
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This article considers the Roman body chain (catena), which comprises two long lengths of woven gold chain worn crisscrossing the torso. Roman illustrations of women wearing catenae demonstrate that the form carried strongly erotic connotations relating to the goddess Venus and female sensuality. A small corpus of preserved body chains from the Vesuvian region testifies to their actual use by women in the first centuries BC and AD. This study examines the status of the women who wore such jewellery, which combined clear economic expense with erotic messaging. In opposition to claims that the sexual nature of body chains signals their association with prostitutes, it is argued here that visual and textual sources contemporaneous with the Vesuvian chains point to women of “respectable” social categories having both the freedom and incentive to express a confident sexual identity. Important archaeological evidence offers further indications for the ownership and use of catenae by Roman women of varying status. The potential meanings and motivations underlying the shared use of this symbolic form of adornment are also addressed. On cover:Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900
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Littauer, Amanda H. "Queer Girls and Intergenerational Lesbian Sexuality in the 1970s." Historical Reflections/Réflexions Historiques 46, no. 1 (March 1, 2020): 95–108. http://dx.doi.org/10.3167/hrrh.2020.460107.
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Drawing on letters and writings by teenage girls and oral history interviews, this article aims to open a scholarly conversation about the existence and significance of intergenerational sexual relationships between minor girls and adult women in the years leading up to and encompassing the lesbian feminist movement of the 1970s. Lesbian history and culture say very little about sexual connections between youth and adults, sweeping them under the rug in gender-inflected ways that differ from the suppression of speech in gay male history and culture about intergenerational sex between boys and men. Nonetheless, my research suggests that, despite lesbian feminists’ caution and even negativity toward teen girls, erotic and sexual relationships with adult women provided girls access to support, pleasure, mentorship, and community.
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Gierl, Heribert, Boris Bartikowski, and Fernando Fastoso. "Financial Risk Proneness Explains the "Sex Sells” Hypothesis in Relation to Luxury Brands." Marketing ZFP 44, no. 3 (2022): 60–78. http://dx.doi.org/10.15358/0344-1369-2022-3-60.
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Owing to their premium prices, luxury brands carry considerable financial risk for consumers. Drawing from evolutionary research, we theorize that exposure to eroticism in luxury advertising enhances consumers’ willingness to take financial risks and, through it, evaluations of the advertised brand. We test these expectations experimentally in two studies (N = 465; N = 105) and for three categories of luxury brands (wristwatches, vodka, and perfumes), using different measures of risk proneness and brand evaluations. Both studies lend broad support to our expectations. We find that increased risk proneness through erotic advertising in the field of luxury goods improves brand evaluations if the goods can be used for conspicuous consumption and in all model-gender/consumer-gender combinations except of the male-model/male-consumer constellation.
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Mortas, Pauline. "Hot stuff. Anatomy of the sex market at the dawn of the twentieth century." French History 34, no. 2 (June 2020): 213–34. http://dx.doi.org/10.1093/fh/craa023.
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Abstract Drawing on a rich legal dossier on a violation of obscenity laws (the Trafford affair), this article studies the formation of a sex market in early twentieth-century Paris. Books and erotic photographs, contraceptives, sex toys and remedies for increasing sexual potency: the diversity of these products relating to sexual practices is clearly revealed by the case. The dossier demonstrates how this commercial enterprise drew on the benefits of industrialization, mass media and globalization for building its client-base and developing a transnational dimension. It also allows us to understand the strategies deployed to keep the sale of these objects clandestine, in a context where they were increasingly overseen by the authorities, revealing innovative forms of commercial exchange, based on an epistolary transvestism.
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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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Forbes, Kathryn, and Kris Clarke. "Policing the Park." lambda nordica 28, no. 4 (December 31, 2023): 19–45. http://dx.doi.org/10.34041/ln.v28.917.
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This study explores how an undercover sting that targeted men soliciting sex with other men around public park toilets in Fresno, California, led to an increase in resources for local law enforcement, including a surveillance system that stretched beyond the park and into poor Black and Brown neighborhoods. We use the literature on policy entrepreneurship to make sense of the power of police both to quell opposition to unpopular public safety initiatives and to make the case for administrative expansion. This case study demonstrates that creating panic about public same-sex erotic activity can be utilized without appearing homophobic or drawing the wrath of LGBTQ+ rights groups, especially when focusing on the dangers to children. We argue that the men arrested for lewd conduct were simply collateral damage and not seen worthy of defense.
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Strongman, SaraEllen. "‘Creating justice between us’: Audre Lorde’s theory of the erotic as coalitional politics in the Women’s Movement." Feminist Theory 19, no. 1 (December 1, 2017): 41–59. http://dx.doi.org/10.1177/1464700117742870.
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This article asks how interracial sex and/or sexual attraction might be an integral part of cross-racial feminist work. Focusing on the work of black lesbian feminist poet Audre Lorde, I argue that for some black women sex and intimate relationships with white women during the Women’s Movement were an important part of their survival and their feminist and anti-racist praxis. Drawing on recent black feminist scholarship, I read Lorde’s work against the grain of the anti-pornography feminist movement contemporaneous with her career and suggest that sex with white women was often a productive, enriching and necessary experience for her as she worked to build cross-racial political alliances.
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Hamdan, Sara. "Becoming-Queer-Arab-Activist: The Case of Meem." Kohl: A Journal for Body and Gender Research 2, no. 1 (December 1, 2015): 66–82. http://dx.doi.org/10.36583/kohl/1-2-10.
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Drawing on the study-case of the Meem queer activist community in Beirut, I analyze the movements of de-territorialization and re-territorialization in the micropolitical flow of their located struggle. I intervene with the Deleuzian notions of becoming nomadic and affirmative politics of difference, the politics of location in the work of Rosi Braidotti, and Audre Lorde’s notion of the erotic to think the becoming-queer-Arab-activist and map the complex processes of non-linear and differential becomings. My purpose is to conceptualize the non-linearity and the movement of the “different difference” of queer Arabness, which blurs the dialectical and identitarian binary of sexuality reproduced by the exotic Gay International and the exclusively discursive frameworks. I use these concepts to map the fluxes and the affirmative affectivities of desire in the Arab queer activism illustrated by Meem’s non-identitarian approach.
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Karaian, Lara. "Relative Lust: Accidental Incest’s Affective and Legal Resonances." Law, Culture and the Humanities 15, no. 3 (July 25, 2016): 806–25. http://dx.doi.org/10.1177/1743872116661271.
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This article explores the intimate relationship between the body, sexuality, technology, popular culture, and incest law. I examine the nature, meaning, and affective resonances of representations of consensual incest, “accidental incest,” and “technology facilitated accidental incest” in popular culture, pornography, and public service announcements. Drawing on a pastiche of affect theory; cultural and media studies theories of human-technological relations; queer, feminist and cultural posthumanist theories of embodiment, subjectivity and sexuality; and, Eve Sedgwick’s notion of a “reparative reading” I consider how these experiences and representations expand our emotional and erotic desires and alter our perceptions of our bodies’ parameters, their “proper” sexual objects and kinship relations, and their boundary violations. I argue that these affective residues pose a challenge to the “logic” underpinning the taboo’s intransigence, thus potentially contributing to the destigmatization and decriminalization of consensual adult incestuous relations.
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De Ros, Xon. "El legado oculto de Antonio Machado a la generación de poetas del medio siglo." Prosemas 4 (February 19, 2020): 203. http://dx.doi.org/10.17811/prep.4.2019.203-222.
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Resumen: Los estudios dedicados a investigar la ascendencia de Antonio Machado en la generación poética del 50 han resaltado la crítica social y la reflexión metafísica como rasgos comunes en ambos. Este artículo se propone explorar el componente erótico, un aspecto poco estudiado en la poesía de Machado a pesar de la relevancia que tiene en la obra de sus apócrifos, examinando uno de los poemas tempranos de «Galerías» a la luz de su lectura por parte de Jaime Gil de Biedma. El análisis de las estrategias que generan el potencial erótico del poema machadiano, a través de enfoques proporcionados por teorías y poéticas del erotismo elaboradas por autores como George Bataille, Roland Barthes, Octavio Paz y Anne Carson, entre otros, revela una estructura de ecos y resonancias poéticas que evocan una figura mediadora del deseo. La reacción de Gil de Biedma sugiere una sensibilidad receptiva a esta veta del legado de Machado. Palabras clave: Erotismo; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poetas del 50; tradición poética; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; triángulo erótico; mediador del deseo; eco poético.Abstract: Researchers working on the influence of Antonio Machado on the Spanish mid-1950s generation of poets have highlighted social critique and metaphysical reflexivity as common features in both. Prompted by Jaime Gil de Biedma’s reading of one of Machado’s earlier poems from the series ‘Galerías’, this essay explores the erotic component in the poem, an element under-researched in Machado’s poetry despite its relevance to the writings of his apocryphals. Drawing on theories of eroticism proposed, among others, by Georges Bataille, Octavio Paz, Roland Barthes and Anne Carson, an analysis of the textual strategies that generate the erotic potential in Machado’s poem reveals a network of echoes and poetic resonances which conjure up the figure of a mediator of desire. Gil de Biedma’s reading suggests a sensibility receptive to this strand of Machado’s legacy. Key words: Eroticism; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poets of 1950; poetic tradition; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; erotic triangle; mediator of desire; poetic echo.
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Azam, Hina. "The Hij?b at Cross-Purposes: Conflicting Models of the Erotic in Popular Islamic Advice Literature." Comparative Islamic Studies 5, no. 1 (July 10, 2011): 131–76. http://dx.doi.org/10.1558/cis.v5i1.131.
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An examination of popular advice literature geared toward Muslims living in the West, such as the type commonly available in U.S. mosques and at online Islamic bookstores, indicates that there exist at least two potentially conflicting narratives regarding the ?ij?b (the veil or headcovering) as a pious practice. The first narrative presents female sexuality as a natural and positive force, as long as it is properly channeled. The ?ij?b, in this narrative, is not meant to categorically repress women’s erotic nature, but is a pragmatic social practice meant to avoid eroticism in the public sphere, where it would be a source of temptation and disorder. Often corresponding to this narrative is a notion of (female) sexuality as constant, and an ideology that deemphasizes gender differences. A second narrative presents erotic desire and fulfillment as a marker of attachment to the world and an assertion of the ego-self (nafs), and therefore negative, even in the context of marriage. In this view, the ?ij?b is an ascetic practice, a means by which a woman may discipline her self and develop a greater spiritual-moral faculty. This narrative, in many instances, considers sexuality to be malleable, and also tends to be paired with an emphasis on sexual difference. This paper seeks to tease out the conflicting models of the erotic that emerge in this genre of writing. It further suggests that deviations from a text’s core narrative and appeal to the opposing narrative betrays a lack of commitment to either a particular narrative of veiling or a particular model of eroticism. Rather, such deviations suggest an instrumental use of these narratives and models in favor of the predetermined conclusion, which is the injunction to veil, and to which end both models of eroticism and both narratives of veiling are bent. A final objective is to show, by drawing on ethnographic research, that the conflicting models of eroticism found in popular advice literature are mirrored in the thinking of the contemporary Western Muslim women who are the intended readers of this literature, and to reflect upon the possible consequences of this theoretical conflict upon Western Muslim readership.
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Boluwaduro, Stephen Olabanji. "Negotiating body, sex, and self-fashioning in Fújì music." Sociolinguistic Studies 17, no. 1-3 (August 7, 2023): 159–79. http://dx.doi.org/10.1558/sols.24125.
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A growing body of literature interrogating the voluptuous rendering of human sexuality in popular culture has focused on sex scripting in Western films and the commodification of women and their representations in popular media. However, exploration of how linguistic metaphors and innuendoes are deployed to affirm or contest expressions of desires that are sacred, sensitive, or taboo in Fuji music has received little scholarly attention. Of what significance is contesting social structure on sexuality to Fuji as a Nigerian popular musical genre? This empirical study explores this question while drawing on an ethnographic and interpretive literary analysis. Drawing from Hakim’s notion of ‘erotic capital’, the analyses and discussion operationalize the sexual scripting framework, Black feminist thought, and African/Black revolutionary art. I argue that sexual narratives and connotations in Fuji performance are often generated as powerful resources to contest sexual sensitivity and push back on silence on sexuality, negotiate and solicit artistic identity, and exact influence on public conversations on sexuality. By and large, this article affirms the engagement of sensual lyrical content as constitutive of revolutionary art and a social transformative site in which the body is negotiated as a catalyst for sexonomics in the contemporary ‘ear-tearing pant-and-bra’ musical evocations.
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Stahl, Matt. "Are workers musicians? Kesha Sebert, Johanna Wagner and the gendered commodification of star singers, 1853–2014." Popular Music 40, no. 2 (May 2021): 191–209. http://dx.doi.org/10.1017/s0261143021000301.
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AbstractThe legal history of pop singer-songwriter Kesha Sebert has brought to light serious problems of gender and power in the US recording industry: it remains male dominated to its core. These contemporary problems have specific historical origins. Contextualising the 2008–2014 lawsuit between two rival producers over the exclusive right to Kesha's labour power suggests that elements of Victorian gender relations and class war were baked into the doctrine on which that 21st century case turned. Drawing empirically on court documents, and analytically on perspectives from history and sociology as well as feminist legal scholarship, this paper explains the persistent vitality of a ‘gendered erotic triangle’ in music production. By contextualising Kesha's gendered legal triangulation, and analysing a seemingly technical quibble about the interpretation of a statute of (temporal) limitation, this paper frames the commodification of singers’ labour power as central to a gendered project of class domination.
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Branciforte, Joshua J. "A Critique of “Mascquerade”." GLQ: A Journal of Lesbian and Gay Studies 28, no. 1 (January 1, 2022): 55–86. http://dx.doi.org/10.1215/10642684-9449081.
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Abstract This article begins by identifying the demand for “masc” in gay male digital cultures as a repressive phenomenon. Drawing on a key queer alt-right text by Jack Donovan in which “masc” is explicitly theorized, it shows that its disciplinary logic is distinct from homonormativity. The homo/hetero binary is explicitly rejected, and the perverse structure is weaponized as a repressive mechanism suited to a postnormative environment. Under these conditions, critiques of normativity and homonationalism are unable to provide an effective counter because the subjects they address have stopped caring. The article describes perverse homogenization processes as “homotribalism,” arguing that they provide an erotic basis for ethnonationalism. It then provides a detailed reading of Call Me by Your Name (2017), claiming that its striking contemporary relevance during the first year of the Trump administration followed from working through the question of homotribal desire within liberalism.
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Ashford, Chris. "Barebacking and the ‘Cult of Violence’: Queering the Criminal Law." Journal of Criminal Law 74, no. 4 (August 2010): 339–57. http://dx.doi.org/10.1350/jcla.2010.74.4.647.
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This article seeks to revisit the law in relation to the sexual phenomenon of barebacking. Drawing upon queer theory, the article seeks to evaluate critically the development of the criminal law in relation to the practice of ‘unsafe’ sex by men with other men, known as barebacking, along with the broader casting of the judiciary as sexual custos mores. It will argue that the present heteronormative legal and cultural framework largely reflects a focus upon the ‘good gay’, de-sexed and constructed within a rights discourse, in contrast to Stychin's ‘bad queer’, sexual and defiant of a narrow heteronormative rights agenda, and embracing ‘unsafe’ and ‘deviant’ sexual practices. This article seeks to move the analysis of the criminal law on from the doctrinal debates that have dominated thus far, and onto a more theoretical exposition of the criminal law regarding barebacking as erotic play.
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Frydman, Hannah. ""Confidences épistolaires de la Vénus publique": Real-time Communication, Voyeuristic Reading, and Social Media's Erotic Pre-History in the Petite Correspondance." Nineteenth-Century French Studies 52, no. 1-2 (September 2023): 89–106. http://dx.doi.org/10.1353/ncf.2023.a911801.
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Abstract: In 1875, Parisian daily Le Figaro introduced a personal advertising column called the petite correspondance , which allowed people to write to each other using the newspaper as mediator, avoiding home addresses and the watchful parents or spouses who lived at them. The often-amorous exchanges this facilitated, some fictional (commissioned by the newspaper to entice readers), some real, drew on older forms, such as epistolary novels. In this way, they catered to readers' established taste for voyeurism while drawing them into a new erotic temporality, as these notes were simultaneously exchanged and voyeuristically read. Created in the very years that witnessed the conception of laws granting press freedom and setting the stage for a redefinition of "pornography," the section brought together press and sexuality in novel ways, laying the groundwork for the forms of voyeuristic reading and exhibitionist living we—through social media—are steeped in today.
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Garcia-Walsh, Katerina. "Oscar Wilde’s Misattributions: A Legacy of Gross Indecency." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 188–207. http://dx.doi.org/10.46911/pyiv5690.
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Drawing on correspondence and periodical advertising as well as paratextual and bibliographic detail, this paper compares editions of the three most prominent texts falsely associated with Oscar Wilde: The Green Carnation (1894), an intimate satire on Wilde’s relationship with Lord Alfred Douglas actually written by Douglas’ friend Robert Smythe Hichens; “The Priest and the Acolyte” (1894), a paedophilic story written by John Francis Bloxam and presented as evidence against Wilde during his libel trial and then privately reprinted; and the erotic novel Teleny (1893), which is still attributed to Wilde today. His name appeared in tandem with these novels over the course of a century, linking him further with sex and scandal. Two separate editions of Teleny in 1984 and 1986 feature introductions by Winston Leyland and John McRae, respectively justifying Wilde’s authorship and describing the work as likely a round-robin pornographic collaboration between Wilde and his young friends. By recognising and exposing these cases of literary impersonation, we can amend Wilde’s legacy.
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Martins, Eduardo E. B. "I’m the Operator With My Pocket Vibrator: Collective Intimate Relations on Chaturbate." Social Media + Society 5, no. 4 (October 2019): 205630511987998. http://dx.doi.org/10.1177/2056305119879989.
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This article focuses on the use of a remote-controlled vibrator on Chaturbate, a sexually explicit webcam platform. Looking at the complex arrangement formed by so-called human and nonhuman counterparts in networked settings, I analyze an intimate moment hosted by the selected erotic platform, observing how a sex toy that can be controlled by distance modulates the affective underpinnings of such “vibrant” assemblage and participates in this carnal activity by heightening and clustering different groupings of bodies to create an orgasmic moment. Drawing on Actor–Network Theory and theories of affect, I focus on the sociotechnical affordances that constitute this sexual setting and describe the movement of actants as they throb to develop senses of intimacy and presence in the unfurling event, thus showing how a great number of players, from varied scopes of intelligibility, participate jointly to develop visceral affect and body friction even though they do not share the same spatial frame.
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Colosi, Rachela. "Over ‘Sexed’ Regulation and the Disregarded Worker: An Overview of the Impact of Sexual Entertainment Policy on Lap-Dancing Club Workers." Social Policy and Society 12, no. 2 (September 28, 2012): 241–52. http://dx.doi.org/10.1017/s1474746412000462.
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In England and Wales, with the introduction of Section 27 of the Policing and Crime Act 2009, lap-dancing clubs can now be licensed as Sexual Entertainment Venues. This article considers such, offering a critique of Section 27, arguing that this legislation is not evidence-based, with lap-dancing policy, like other sex-work policies, often associated with crime, deviance and immorality. Furthermore, it is argued that sex-work policies are gradually being homogenised as well as increasingly criminalised. Other criticisms relate to various licensing loopholes which lead to some striptease venues remaining unlicensed and unregulated, potentially impacting on the welfare of erotic dancers. In addition, restrictions on the numbers of lap-dancing venues may exacerbate dancer unemployment, drawing these women into poverty. Finally, The Policing and Crime Act reflects how the political focus is being directed away from the exploitation of workers, on to issues relating to crime and deviance, despite limited evidence to support this focus.
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Stenberg, Josh. "Ethnic Loyalty versus Spring Fancy." Prism 19, no. 2 (September 1, 2022): 474–90. http://dx.doi.org/10.1215/25783491-9966757.
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Abstract Hei Ying 黑嬰 (1915–1992) wrote prolifically about the “southern isles,” where he—a Hakka from Sumatra—was born. Written for a sophisticated urban readership in China that was curious about the exotic and erotic Nanyang, Hei Ying's 1930s fiction foregrounds questions of Chinese ethnicity and nation. Ethnicity interacts with gender against sultry and desultory backgrounds, with improper patriotic or sexual tendencies attracting narrative punishment. Drawing on three pieces of his short fiction from the 1930s, this article argues that Hei Ying's theme of sexual temptation in the tropics rehearses European colonial (or Han majority) views of the impulsive, sultry native, an image that is contrasted with Republican Chinese primness. The bourgeois woman awakening to Chinese ethnonationalism and rejecting sensuality in favor of patriotism makes her an ancestor to the sexless heroines of Chinese revolutionary culture, including some Hei Ying would write later. The sensuality of the tropics thus operates as a foil for passions correctly channeled—toward nation (and eventually also party-state).
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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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Wojciechowska, Magdalena. "“I was ashamed, and now I am proud as I finally know how to let go.” How Female Polers Perceive, Experience, and Give Meanings to Their Bodies—An Ethnographic Case Study." Qualitative Sociology Review 19, no. 4 (October 31, 2023): 26–51. http://dx.doi.org/10.18778/1733-8077.19.4.02.
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Although the popularity of recreational pole dancing continues to gain momentum, its prevailing association with the erotic sphere and resulting stereotypes shape it as a borderline activity. Notably, the way pole dancing is approached and enacted elucidates how bodies, especially female embodiment, are socially constructed and controlled. Thus, to look at that issue from recreational female polers’ perspectives, this article sheds light on how their understandings of the body evolve with their engagement in the leisure activity at hand. That process is analyzed in the context of how women deal with tensions that arise while they navigate between the internalized societal expectations concerning desired femininity and personal agency. Drawing on ethnographic and interview data from pole dance studios in Poland, I discuss how polers’ perspectives on their bodies change from personal and interactional ‘limitations’ to embracing their bodies as interactional partners with whom to achieve their goals. In the process of learning by doing, women get to know their bodies and develop with them a relationship based on trust. Subsequently, growing to understand the bodies as their substantial selves that functionality allows them to achieve the ‘impossible’ as one empowers women. At the same time, I highlight how the process of espousing alternative perceptions of one’s body unfolds under the umbrella of an internalized frame of meanings concerning female embodiment that lures women to fit societal expectations. The interplay between the two sheds light on how female polers navigate toward reclaiming their self-confidence from the clutches of the critical social gaze while negotiating the notion of their bodies. Compelling in that regard is how relying on erotic associations with recreational pole dancing in terms of inciting empowerment through a sexual agency, as some studios do, plays out and factors into female pole dancers’ experiences concerning their leisure activity.
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Hernández, Robb. "Chasing Papi." TSQ: Transgender Studies Quarterly 8, no. 1 (February 1, 2021): 4–23. http://dx.doi.org/10.1215/23289252-8749554.
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Abstract In the wake of COVID-19, virtual platforms of contact have reimagined trans-of-color knowledge and intimacy despite social distance. The “digital,” whether cybernetic or handcrafted, has long pervaded trans and queer-of-color artistic innovation and even informed their critical responses to the AIDS crisis. None have a better grasp of the virtuosity of virtual interfaces than mixed-media artist Olivero Rodriguez. Drawing on his literary and image-based art piece entitled The Papi Project (2010–18), this essay articulates how he works in tandem with speculation and archiving. The result is a life support system reviving dormant erotic networks and complex familial relations central to his reclusive late father, Peter. By chasing Papi, Rodriguez empowers an archival art strategy to visually reconcile a trans-of-color childhood and patrilineal relations with a virus. Furthermore, by contesting the way AIDS narratives eclipse children's perspectives on disease, Rodriguez's intervention has consequence for trans-of-color historical critique, breathing new life into an “epidemic child, not birthed but raised by AIDS.”
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Kok, Erna. "A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 119–40. http://dx.doi.org/10.1163/187501711798264201.
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AbstractJacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story. In this article I propose that the painting is a portrait historié of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of 1607 in Historia del Testamento Vecchio - this collection of fifty prints was reprinted in Amsterdam in 1638. The identification as Isaac and Rebecca does not show at first sight in the present painting. Therefore, we have to take in consideration that the current image is heavily over painted and the canvas is reduced by almost 65 %. Fortunately a drawing in Braunschweig – that was convincingly attributed by Peter van den Brink as a modello by Backer - offers a clear idea of the monumental standing format of the original painting and it's explicit erotic content. This is particular notable in the slung-leg motif that contemporaries undoubtedly would have recognized as the act of making love. The erotic allusions, the rare subject, and the unusual huge standing format are indicative of a commission. The identification of the commissioners derives from the striking likeness, in features and clothing, that the man in the Tokyo painting shows with the portrait of Marinus Lowysse, that he – as we know - commissioned from Backer in the same year of 1640, a Portrait historié of Marinus Lowysse en Eva Ment, with their children, presenting the history of Christ and the Canaanite Woman, now in Middelburg. Recently an unknown painting of Backer turned up at the art market, which is very likely another portrait of Marinus Lowysse; apparently he was an important client of Backer.
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Hayes, Melissa A. "Sex in the Witness Stand: Erotic Sensationalism, Voyeurism, Sexual Boasting, and Bawdy Humor in Nineteenth-Century Illinois Courts." Law and History Review 32, no. 1 (February 2014): 149–202. http://dx.doi.org/10.1017/s0738248013000473.
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Twenty-something John Dunn remembered July 17, 1872 well. A witness for the defense in both a bastardy trial brought by 15-year-old Mary Morgan and a later seduction suit brought by her father, John would recount that summer day by drawing on the rough, sexual slang he likely used in conversations with male friends. After he was sworn in, John informed the legal participants and curious local spectators gathered at the Perry County Circuit Court that the July 17 buggy ride with young Mary had presented him with the opportunity to “feel of her titties and monkey.” John's testimony was hardly the most vulgar given during the proceedings. Another character witness, Robert B. Ward, disclosed a particularly salacious conversation he had overheard while in the “privy” behind a DuQuoin general store. Eavesdropping, Ward listened to two young men discuss Mary Morgan's “condition” with one another. The man Ward recognized, Thomas Williams, told his friend he would leave the state rather than marry a girl who “ran around screwing this one and that one,” if Mary did happen to “swear the child on him.” Thomas's buddy agreed that dodging the law would be preferable to matrimony with Mary for she had not “behaved herself.” “I have screwed her as often as I have fingers and toes, or oftener, and you know it,” he confided to Thomas. “Yes I know that,” Thomas replied, “She don't know more than a hog whose child it is.”
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M’Baye, Babacar. "Afropolitan Sexual and Gender Identities in Colonial Senegal." Humanities 8, no. 4 (October 19, 2019): 166. http://dx.doi.org/10.3390/h8040166.
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Drawing from Achille Mbembe’s theorization of Afropolitanism as an opportunity for modern Africans “to experience several worlds” and develop flux, hybrid, and constantly mobile identities (“Afropolitanism” 29), this essay attempts to make an intervention into the ways in which this phenomenon appeared in colonial Senegalese culture. A neglected site of Afropolitanism was the colonial metropolis of Dakar which reflected subversive homosexual or transgender identities during the 1940s and 50s. Focusing on key writings such as Armand Corre’s book, L’ethnographie criminelle d’après les observations et les statistiques judiciaires recueillies dans les colonies françaises [criminal ethnography based on judiciary observations and statistics gathered from French colonies] (1894) and Michael Davidson’s travelogue, “Dakar” (1970), this essay wants to uncover a part of the silenced and neglected history of sexual and gender variances in colonial Senegalese culture. In these texts, one finds salient examples of Afropolitanism which were deployed as tools of resistance against homophobia and transphobia and as means of affirming erotic, sensual, and transgressive identities. In the end, colonial Senegalese culture transcended gender and sexual binaries in order to provide space for recognizing and examining Afropolitan sensibilities that have thus far been neglected in African studies scholarship.
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Braz, Camilo. ""Like a porn movie": Notes on boundaries and bodies that matter in male sex clubs." Vibrant: Virtual Brazilian Anthropology 9, no. 1 (June 2012): 131–53. http://dx.doi.org/10.1590/s1809-43412012000100005.
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This article is based on ethnographic research carried out in male sex clubs in São Paulo between 2006 and 2008. Drawing on interviews conducted with club-goers and club owners, it discusses the recent segmentation of the sexual leisure market for men in the city, and the processes by which stereotypes and characteristics associated with virility are valued and performed. The possible effects of these processes on subjectivity constitution are also investigated. In sex clubs, sexual practices considered borderline, such as fist-fucking and other practices associated with BDSM, are material for specific and refined learning. The data gathered from interviews show that condom use and drug and alcohol consumption are subject to a sort of surveillance and control, especially when it comes to their questions of 'excess'. This control provides sex clubs with a sense of legitimacy, making them part of a viable erotic market. The intention here is to demonstrate the analytical interest of this control in the context of the construction of subjects and bodies that matter in these venues. Like practices which evoke control or loss thereof, bodies and clubs need to have their excesses checked so that they are intelligible and desirable.
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DURAND, JÚLIA. "‘Romantic Piano’ and ‘Sleazy Saxophone’." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 23–45. http://dx.doi.org/10.3828/msmi.2020.3.
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Library music is currently used in countless audio-visual contexts, from documentaries to YouTube videos. It has become an essential resource for video editors and a relevant source of revenue for composers. Although this pre-existing music is rapidly gaining significance and more varied uses, it still has a reputation in musicological scholarship of being uninteresting and stereotyped. By organising their music in neatly labelled drawers, library music catalogues appear to present a vision of sonorities closely aligned with narratives and images. However, the very same piece may sometimes be heard in widely different contexts. Drawing from an examination of the catalogues of two European library music companies, Audio Network and Cézame, as well as from interviews with composers and music consultants, I focus on how the categories, titles, and descriptions of library music tracks play a relevant role, even a decisive element, in their composition and subsequent use. Taking as examples such categories as ‘romantic’ and ‘erotic’, it is possible to show that these texts reflect and, simultaneously, reinforce widespread narrative and musical conventions in cinema and television. Such classifications potentially contribute to negative views about library music, by making apparent its fundamental organisation around standardised categories and recurrent musical clichés.
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Shah, Syed Zulkifil Haider, and Elijah Cory. "Reclaiming Subjectivities: A Psychoanalytic-Feminist Perspective on Item Songs in Contemporary Indian Cinema." CINEJ Cinema Journal 7, no. 2 (September 20, 2019): 82–100. http://dx.doi.org/10.5195/cinej.2019.217.
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Item Songs have recently become established as new genre of songs in the mainstream Indian Cinema, although they have remained a part of Bollywood movies since at least the 1970s. Such songs, despite their widespread appeal to masses, have often been panned by Film critics (particularly from the Radical Feminist School) for their erotic dances, and an overly glamorized and sexualized depiction of half-nude female bodies. Based upon the textual analysis of two popular item songs in recent Indian cinema, Sheila ki Jawani from Tees Maar Khan (2010) and Munni Badnam Hui from Dabangg (2010), this paper seeks to problematize such readings which focus exclusively on the issue of the objectification of women through the concept of the male gaze. Drawing upon more recent studies in Psychoanalytic Feminist Scholarship, the paper departs from this conventional understanding. It argues that such item songs can also be interpreted as a means of liberation for women, and as devices for reclaiming the narrative on female sexuality, and a woman’s right to her body. More broadly, using Judith Butler’s concept of Gender Performativity in the Feminist Phenomenological tradition, the paper argues that items songs can be construed as performative acts that subvert the male gaze and viewed as constitutive of new feminine subjectivities in the contemporary Indian society.
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Rogers, Richard. "Do you want to go for a ride on the chunnel? The British public understandings of the Channel Tunnel meet the Eurotunnel Exhibition Centre." Public Understanding of Science 4, no. 4 (October 1995): 363–96. http://dx.doi.org/10.1088/0963-6625/4/4/003.
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As readers of British newspapers know very well, the Channel Tunnel has a long history and a potent mythology. The mere mention of the Tunnel summons associations extending from the technological and ecological to the patriotic and erotic. This paper takes up the historical and contemporary meanings of the Channel Tunnel and situates them in the context of its perceived `social threat'. Drawing on a variety of materials, including newspaper articles, cartoons, plays, fiction and museum displays, the paper deals with four types of ominous fears of the Tunnel: fear of (subterranean) invasion; fear of the end of the island race and splendid isolation; fear of the destruction of the countryside and the country life in the `Garden of England'; and fear of sudden, violent death caused by rabies, fire, flooding or terrorist attack. Laden with concerns about the Tunnel, the author (like members of the British public have done) takes a trip to the Eurotunnel Exhibition Centre in Folkestone, England, to hear Eurotunnel's arguments about the Tunnel. In all, Eurotunnel exhibitors either ignore or recast concerns about the Channel Tunnel, leaving the visitor with the impression that, while the Channel Tunnel was an engineering feat unprecedented in history, a trip through the Tunnel will be a non-event.
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Tahir, Tayyaba Batool, Mahbloos Asad, and Wajid Akram. "From Fantasy To Fear: The Politics Of Veil During The Algerian War Of Independence." Migration Letters 21, S3 (January 19, 2024): 1834–39. http://dx.doi.org/10.59670/ml.v21is3.10781.
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Women bodies have been the site of contestation and struggle in the colonial ventures. This research article aims to discuss the opaque veil erected as a barrier between the bodies of Algerian women and French colonizers’ gaze. Rather than being an object to be seen and observed by French men, the veiled women ‘See, without being seen’. Thus, the veil evaded power dynamics between colonized and colonizers. By doing a literature search of French colonial rule in Algeria (1830-1962), this paper explores the significance of the veil by comprehending the processes of veiling, unveiling and re-veiling of the Algerian women during the c[1]olonial rule in Algeria. Drawing the theoretical framework from the works of Malek Alloula and Timothy Mitchell, this essay also examines different paradoxes associated with the veil in Algeria. This essay analyses the drastic change in the French perception of the veiled Algerian women from the erotic towards a new emphasis on the veiled Algerian women as a symbol of political danger. This paper also explores how this new political role gave the veiled Algerian women agency to act during French colonial rule in Algeria and how veiling became a symbol of colonial resistance.
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Eckmann, Teresa. "Reorienting Mexicanidad and the Catholic Narrative." Latin American and Latinx Visual Culture 5, no. 3 (July 1, 2023): 7–31. http://dx.doi.org/10.1525/lavc.2023.5.3.7.
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From his provincial origins in the small northern Mexico town of Múzquiz, Coahuila, to achieving international standing at the time of his early death at the age of forty-seven, Julio Galán (1958–2006) crossed borders between Monterrey, New York City, and Paris to emerge among Neo-Expressionist and neomexicanista artists of the 1980s as radically transgressive in his self-representation. Galán combined gender-fluid imagery, a performative persona, queer self-representation, and cross-cultural visual and textual references to create large-scale, layered, dialogical visual puzzles. Establishing the centrality of Catholic ritual and doctrine in his artwork, this paper closely examines a selection of unpublished family photographs, preparatory sketches, paintings, still performances, and installations generated over the course of his career that emerged from Galán’s personal, conflicted relationship with Catholicism. Through self-portraiture, he embodied Jesus Christ and the Virgin Mary, weighing relationships between divine and human. He transformed and recontextualized religious symbols in his art, combining them with the popular and the everyday, the carnal and erotic, to bridge the divide between the sacred and the profane. Drawing from queer theory, cultural criticism, film criticism, and visual analysis, this study shows that Galán engaged with religious symbols in his art to insist on the inclusionary, a position that maintains social relevance today, particularly with the LGBTQ+ struggle for visibility and civil rights.
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Da Silva Santiago, Tainá Maívys, and Natanael Duarte De Azevedo. "REPRESENTAÇÕES E SIMBOLISMOS NAS PINTURAS DO ARTISTA PLÁSTICO FRANCISCO BRENNAND * REPRESENTATIONS AND SYMBOLISM IN THE PAINTINGS OF THE PLASTIC ARTIST FRANCISCO BRENNAND." História e Cultura 8, no. 2 (December 7, 2019): 108. http://dx.doi.org/10.18223/hiscult.v8i2.2311.
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Neste artigo apresentaremos como debate as representações criadas por Francisco Brennand em suas expressões pictóricas que abrangem o universo do desenho e da pintura. Demonstrando como o simbolismo é constante nessa linguagem, e como este dialoga com a maneira encontrada pelo artista para retratar os gêneros e as sexualidades. A subjetividade presente nessa narrativa é também parte do exercício historiográfico, acabando por levar à cientificidade aspectos mais sensíveis do ser humano, acrescentando ao debate sobre sociedade e cultura as experiências cotidianas mais imperceptíveis. Utilizando como base teórica para as perspectivas abordadas a teórica Griselda Pollock (2003) e outros, sobre o uso de corpos femininos na história da arte e, ainda, Lynn Hunt (1999) sobre os elementos eróticos e pornográficos.*We present in this paper as a debate the representations created by Francisco Brennand in his pictorial expressions that cover the universe of drawing and painting, demonstrating how symbolism is constant in this language, and how it dialogues with a way found by the artist to portray the genders and the sexualities. The subjectivity present in this narrative is also part of the historiographical exercise because it brings, consequently, to the sciences more sensitive aspects of the human being, adding to the debate about society and culture the most imperceptible everyday experiences. Therefore, we use as a theoretical basis the perspectives approached by Griselda Pollock (2003) and others, on the use of female bodies in the history of art and, also, Lynn Hunt (1999), on erotic and pornographic elements.
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Kyrölä, Kata. "Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics." Camera Obscura 38, no. 3 (December 1, 2023): 77–105. http://dx.doi.org/10.1215/02705346-10772589.
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Abstract This article examines the Swedish fantasy-horror-romance film Gräns (Border, dir. Ali Abbasi, 2018) through queer Indigenous thought and the notion of trans aesthetics, exploring how the film may sensitize its viewers to seeing and feeling with gender variance, queer desire, and the trauma of settler colonialism. Drawing on Eve Tuck's call for desire-based research, the article asks what is at stake in queer, trans, and decolonial readings of films that are not necessarily identifiable as such at the surface level. Border centers on a love story between two gender-fluid trolls who pass as human and whose kin have been subjected to genocide, dislocation, and mutilation, but the film's reception largely misses the connection to the treatment of Indigenous Sámi people and transgender people within Nordic settler states. The article argues that Border's ecstatic depiction of gender-fluid desires, bodies, and sex, alongside its examination of the psychic consequences of settler colonial violence, make it a thus far unique film in the Nordic context — even though this examination happens through the distancing effect of trolls as metaphorical Natives. The main characters embody wrongness in the settler nation-state, in heteronormative society, and ultimately in the delimiting category of the human, but the film imagines rightness in nature as a queer, gender-fluid space where all creatures can just be. Through employing notions of trans aesthetics, the (non)sovereign erotic, refusal, and haunting, the article proposes desire-based readings of cinema that envision ways of feeling and existing beyond humancentric, settler, binary notions of gender and sexuality.