Academic literature on the topic 'Erotic genre'
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Journal articles on the topic "Erotic genre"
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Simsone, Bārbala. "Erotiskās prozas fenomens Latvijā un pasaulē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 222–32. http://dx.doi.org/10.37384/aplkp.2021.26-1.222.
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The present paper “The Phenomenon of Erotic Fiction in Latvian and World Literature” is devoted to the fiction genre acquiring immense popularity in Western literature while having attracted only fragmentary attention in Latvian literary scholarship, namely the erotic fiction, which is currently among those genres of literature most widely read among Latvian readers and therefore titled as somewhat phenomenal. The first part of the paper provides insight into the history of the erotic world literature and the most common division of the genre into the three basic categories; this part also provides a short overview of the erotic aspects in the Latvian original fiction during the 20th century. It has been possible to decide that the erotic prose has had only a limited representation in Latvian literature, mainly due to historical and socio-political factors, because the common tendency was to euphemise the said aspects, which were often met with an open reproach of the more Puritan part of the society. Erotic aspects in poetry and prose somewhat flourished during the epoch of Decadence (the first decade of the 20th century) and after that, only during the turn of the 20th/21st centuries when the prohibitions invoked by the Soviet censorship were lifted. Nevertheless, even during these periods, the more free approach resulted in only a few prose works of this kind or else episodes in works of other genres. The conclusive part of the paper is devoted to four novels by currently the most popular author of erotic romance in Latvian literature, Karīna Račko, inviting at the same time the discussion about the reasons for the popularity of these novels which might proceed from their common structural characteristics. It is possible to observe that the novel’s structures are notably similar to the basic plotlines of fairy-tales that the readers recognise on an archetypal level. Consequently, this makes it possible to view these novels as a sort of fairy-tales for modern grown-ups whose attraction is multiplied by the fact that the texts include specific aspects of visualisation that make it possible for the readers to identify closely with the characters.
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Wyke, Maria. "Taking the Woman's Part: Engendering Roman Love Elegy." Ramus 23, no. 1-2 (1994): 110–28. http://dx.doi.org/10.1017/s0048671x00002411.
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When a woman writes herself into the genre of Roman love elegy she appears to break the recognised conventions for its production, according to which woman is the passive object of erotic desire not its active subject, the written not the writer. In discussing the elegiac poetry composed by Sulpicia, one means by which critics have expressed her extraordinary achievement has been to engender Roman love elegy. For Nick Lowe, Sulpicia's unique intervention was to compose poetry on the subject of her own erotic experience in ‘an obstinately male genre’. For Amy Richlin, Sulpicia breached a double barrier, both the ‘male job’ of writing and the ‘male genre’ of elegy. With reference to Sulpicia, I also labelled Augustan elegy as ‘male-oriented verse’ that constructs a ‘male narrative perspective’. While it is evidently the case that, with the notable exception of Sulpicia, the biological sex of all the authors of Roman elegy is male, I would now argue that the genre of elegy itself is not unequivocally ‘masculine’ and that to engender elegy unproblematically as ‘male’ fails to do justice to the genre's crucial play with Roman categories of gender.
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Uccellini, Renée. "Su una similitudine in Stazio Achilleide 1.178–181 e suo intento programmatico." Myrtia 35 (November 12, 2020): 319–46. http://dx.doi.org/10.6018/myrtia.455251.
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In this paper, I propose a reading of a simile in Statius’ Achilleid (1.178–181), inside the Achilles’ first appearance on the scene. In a few lines, Statius condenses an athletic–heroic image, prefiguring the future epic hero of the Trojan war, but paradoxically expressed with an allusive erotic–elegiac language, inspired on the Challimacus’, Theocritus’ and elegiac also style. In particular, the Propertian model, recalled here and in other places of the Achilleid with certain references to elegy 3.14, reveals itself not only as a simple lexical repertoire todraw from, but also a wise exemplum for the metapoetic reflection, particularly supported within the first book of Achilleid , and focused on the ‘curve’ of the cultivated literary genre. In questo contributo propongo alcune riflessioni su una similitudine nell’Achilleide di Stazio (1.178–181), contenuta nella prima apparizione di Achille sulla scena. In pochi versi Stazio condensa un’immagine atletico–eroica, prefigurazione del futuro eroe epico della guerratroiana, ma paradossalmente espressa con un linguaggio formulare allusivamente erotico– elegiaco, di stampo callimacheo, teocriteo ed anche elegiaco. In particolare, il modello properziano, richiamato qui e in altri luoghi dell’Achilleide con sicuri riferimenti all’elegia 3.14, si rivela non solamente un mero repertorio lessicale al quale attingere, ma anche un sapiente exemplum per la riflessione metapoetica, particolarmente sostenuta all’interno del primo libro dell’Achilleide , ed incentrata sulla ‘curvatura’ del genere letterario coltivato.
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Cheney, Liana De Girolami. "The Oyster in Dutch Genre Paintings: Moral or Erotic Symbolism." Artibus et Historiae 8, no. 15 (1987): 135. http://dx.doi.org/10.2307/1483275.
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Keulemans, Paize. "Ming Erotic Novellas: Genre, Consumption and Religiosity in Cultural Practice." T'oung Pao 98, no. 1-3 (2012): 288–90. http://dx.doi.org/10.1163/156853212x637308.
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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.
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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.
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yang, nel. "Arousal and Elicitation: Photographic Performativity in FinDom." Master, Vol. 5, no. 2 (2020): 70–77. http://dx.doi.org/10.47659/m9.070.art.
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Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition. Keywords: desire, fetish, photographic performativity, critique, masculinity, financial domination
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Hyejin Hwang. "The Study on Storytelling Techniques of Shin, Yunbok Erotic Genre Paintings." Journal of Korean Classical Literature ll, no. 51 (June 2017): 285–317. http://dx.doi.org/10.17838/korcla.2017..51.010.
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Smith, Jacob. "Filling the Embarrassment of Silence: Erotic Performance on ““Blue Discs””." Film Quarterly 58, no. 2 (2004): 26–35. http://dx.doi.org/10.1525/fq.2004.58.2.26.
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Abstract The study of a genre of phonographic recordings called blue discs, made between the 1930s and 1950s, can help to bridge the gap between an oral tradition of erotic performance and film pornography, and also provide a case study in the use of women's voices in the sound media.
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Spyra, Piotr. "Beyond the Garden: On the Erotic in the Vision of the Middle English "Pearl"." Text Matters, no. 3 (November 1, 2013): 13–26. http://dx.doi.org/10.2478/texmat-2013-0023.
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The Middle English Pearl is known for its mixture of genres, moods and various discourses. The textual journey the readers of the poem embark on is a long and demanding one, leading from elegiac lamentations and the erotic outbursts of courtly love to theological debates and apocalyptic visions. The heterogeneity of the poem has often prompted critics to overlook the continuity of the erotic mode in Pearl which emerges already in the poem’s first stanza. While it is true that throughout the dream vision the language of the text never eroticizes the relationship between the Dreamer and the Pearl Maiden to the extent that it does in the opening lines, the article argues that eroticism actually underlies the entire structure of the vision proper. Taking recourse to Roland Barthes’s distinction between the erotic and the sexual to explain the exact nature of the bond which connects the two characters, the argument posits eroticism as an expression of somatic longing; a careful analysis of Pearl through this prism provides a number of ironic insights into the mutual interactions between the Dreamer and the Maiden and highlights the poignancy of their inability to understand each other. Further conclusions are also drawn from comparing Pearl with a number of Chaucerian dream visions. Tracing the erotic in both its overt and covert forms and following its transformations in the course of the narrative, the article outlines the poet’s creative use of the mechanics of the dream vision, an increasingly popular genre in the period when the poem was written.
Dissertations / Theses on the topic "Erotic genre"
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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.
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Caputo, Terra. "Love and Excess? Women's Scandalous Fiction and the Discourse of Gender, 1680-1730." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/349.
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This dissertation explores the surprising intersections among women's scandalous fiction and other popular genres in late seventeenth- and early eighteenth-century England. I use the term "women's scandalous fiction" to refer to the illicit tales of seduction authored by Aphra Behn, Delarivier Manley, and Eliza Haywood. Women's scandalous fiction has consistently been viewed, both by contemporary readers and writers and modern critics, as a distinct genre: contemporary writers explicitly distance their works from its illicit and immoral content and modern critics continue to focus on the transgressive aspects of the works to the exclusion of other considerations. Challenging earlier critics whose analyses rely on the superficial qualities of these texts, in this dissertation I emphasize the ideological consistency that aligns women's scandalous fiction with other popular prose genres of this period. This comparative work reveals a consistent ideal of moderation and restraint-across eighteenth-century genres-that evidences a larger cultural belief in the value of regulating sexual desire. Chapter one establishes the mutability of genre categories in the early eighteenth century in contrast to the narrow specificity of genre definitions constructed as a result of the modern critical "origins of the novel" debate. This chapter shows that, while modern genre distinctions are theoretically useful, it is important to recognize that contemporary readers of the early novel had different and significantly broader ways of categorizing genre. I also discuss eighteenth-century attitudes about gender and genre, and I highlight the importance these attitudes have for understanding the ideological connections among texts in the period. In chapter two I compare women's moral fiction with immoral fiction and argue that, though these genres differ in the nature and degree of their sexualized discourse, both genres convey an implicit critique of failed patriarchal influence. Using self-proclaimed moral fictions-Penelope Aubin's The Strange Adventures of Count de Vinevil and Jane Barker's Love's Intrigues-and stigmatized immoral, scandalous fiction-Behn's The History of the Nun and Haywood's The City Jilt-I argue that many of these texts idealize female self-restraint and hold father figures responsible for women's capacity to perform this model of female identity. Chapter three compares Haywood's Fantomina: or, Love in Maze and Manley's New Atalantis with two English translations of French pornographic texts, The School of Venus and Venus in the Cloister, and explores the ways in which differing patterns of sexual discourse construct surprising ideals of femininity; specifically, analysis of narratives of seduction shows that both genres defer power at moments of sexual encounters to the man, allowing the ideal of feminine passivity to prevail. Chapter four moves to popular periodical papers by Joseph Addison and Richard Steele that construct an ideology of the aesthetic subject that parallels libertine ideology; I argue that the similar constructions of libertine and aesthetic pleasure in Addison and Steele's The Spectator, Addison's "Pleasures of the Imagination" essays, Haywood's Love in Excess, and Behn's Love Letters Between a Nobleman and His Sister are underpinned by the same hegemonic systems of patriarchal authority that govern the ideological constructions of gender discussed throughout this dissertation. Ultimately, the analysis in these chapters shows that we should continue to question the degree to which Haywood, Manley, and Behn are "scandalous writers" whose works challenge dominant eighteenth-century discourses about gender. By instead recognizing the ideological intersections among these texts and "moral" texts of the period, we can see the ways in which these writers engaged with dominant discourses about gender in complex ways.
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Silva, Josefina de Fátima Tranquilin. "O erótico em Senhora do Destino: recepção de telenovela em Vila Pouca do Campo, Portugal." Pontifícia Universidade Católica de São Paulo, 2007. http://tede2.pucsp.br/handle/handle/2681.
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This is a research on the reception of the so-called Senhora do Destino soap opera with women between 19 to 50 years old living at Vila Pouca do Campo, in Portugal. The mainly objectives of this study were to disclose the specificities of the erotic genre staged in this soap opera; analyze how the receivers arrogate this fictional narrative and how they elaborate their own report about the eroticism; finally, evaluate the constituents that set up the dialogs established among these women and this soap opera. This study is grounded in the British Cultural Studies, specially centered on Raymond Williams and Richard Hoggart s studies, as well as in the Mediation Theory formulated by jesús Martín- Barbero. The quotidian and the erotic narrative are components that build up the relation between the receivers and the so-called Senhora do Destino soap opera; here these components are considered as being mediations (MARTÍN-BARBERO, 1997a). Wherefore, the erotic genre of this soap opera and the quotidian of these receivers materialize the conflicting relation between nature and culture, the real and the imaginary. Connected to the matrixes of the melodrama, the erotic starts up in these women ways of being and living and, thus, elaborate, in a consistent way, the dialog between them and the so-called Senhora do Destino soap opera
Esta é uma pesquisa de recepção da telenovela Senhora do destino realizada com mulheres na faixa etária de 19 a 50 anos e moradoras de Vila Pouca do Campo em Portugal. Teve como principais objetivos descobrir as especificidades do gênero erótico encenado nessa telenovela; analisar como as receptoras apropriaram-se dessa narrativa ficcional e de que forma construíram seus próprios relatos sobre o erotismo; finalmente, avaliar quais os elementos que constroem o diálogo estabelecido entre essas mulheres e a telenovela em questão. A pesquisa toma por base os Estudos Culturais ingleses, centrando-se particularmente em Raymond Williams e Richard Hoggart, e na Teoria das Mediações formulada por Jesús Martín- Barbero. O cotidiano e a narrativa erótica são os componentes que constroem a relação entre as receptoras e a telenovela Senhora do destino, aqui considerados como mediações (MARTÍNBARBERO, 1997a). Portanto, o gênero erótico nessa telenovela e o cotidiano dessas receptoras materializam a conflituosa relação entre a natureza e a cultura, o real e o imaginário. Acoplando-se às matrizes do melodrama, o erótico aciona modos de ser e de viver dessas mulheres e, assim, elabora de forma consistente o diálogo entre elas e a telenovela Senhora do destino
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Lee, Wing Chi. "Desire between male friends in Latin poems : in search of a sub-genre of homosocial erotic poetry." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3434.
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Latin erotic poetry is an important genre recording surviving examples of male friendship. This report argues that a specific group of poems involving the poet and his powerful friend should be identified and studied separately as a sub-genre. Drawing examples largely from Horace, Catullus and Propertius, I argue that homosocial erotic poetry exploits the same repertoire of generic conventions as erotic poetry, but reshapes some of them for different functions. To articulate the erotic emphasis and the generic concern of this report, Eve Sedgwick’s notion of “homosocial desire” (1985) is introduced. The concept of homosociality is useful in revealing how male desire in our sub-genre has an erotic tinge and functions to foster the social bond of male friendship, but precludes the homoerotic possibility. Chapter One introduces the important terms and methodology chosen for this study, while Chapters Two to Four define and describe three distinctive features of the sub-genre. Chapter Two is devoted to showing that sermo amatorius, the “love speech” often featured in romantic relationships, can be assimilable to the structure of male homosocial relations. Chapters Three and Four examine how the sub-genre reshapes the recusatio and the topos of wealth to negotiate the tension of desire between the poets and their powerful friends. Ultimately, this report argues that male homosocial desire motivates the sub-generic conventions and thereby the seemingly disparate poems constitute a coherent sub-generic classification.text
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Foreman, Adrienne C. "The Mystery of the Situated Body: Finding Stability through Narratives of Disability in the Detective Genre." Thesis, 2013. http://hdl.handle.net/1969.1/151233.
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The appearance, use, and philosophy of the disabled detective are latent even in early detective texts, such as in Arthur Conan Doyle’s canonical Sherlock Holmes series. By philosophy, I am referring to both why the detective feels compelled to detect as well as the system of detection the detective uses and on which the text relies. Because the detective feels incompatible with the world around him (all of the detectives I analyze in this dissertation are men), he is driven to either fix himself, the world, or both. His systematic approach includes diagnosing problems through symptomatology and removing the deficient aspect. While the detective narrative’s original framework assimilates bodies to medical and scientific discourses and norms in order to represent a stable social order, I argue that contemporary detective subgenres, including classical disability detective texts, hardboiled disability detective texts and postmodern disability detective texts, respond to this framework by making the portrayal of disability explicit by allocating it to the detective. The texts present disability as both a literary mechanism that uses disability to represent abstract metaphors (of hardship, of pity, of heroism) and a cultural construct in and of itself. I contend that the texts use disability to investigate what it means to be an individual and a member of society. Thus, I trace disability in detective fiction as it parallels the cultural move away from the autonomous individual and his participation in a stable social order and move towards the socially located agent and shifting situational values.
Books on the topic "Erotic genre"
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1954-, Perrin Jean-François, and Stewart Philip 1940-, eds. Du genre libertin au XVIIIe siècle. Paris: Desjonquères, 2004.
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Smolders, Olivier. Eloge de la pornographie: Où l'on comprend enfin pourquoi le cinéma pornographique est un genre charmant, sympathique, parfaitement délicieux :petit viatique intime. [Liège, Belgium]: Editions Yellow Now, 1992.
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Erotic art by living artists: A veritable gallery of art of the erotic genre. Renaissance, CA: Directors Guild Publishers, 1988.
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Ming Erotic Novellas: Genre, Consumption, and Religiosity in Cultural Practice. Chinese University Press, The, 2011.
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1958-, Bright Susie, ed. The quiver: Erotic short stories. San Francisco: Chronicle Books, 2009.
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Gray, Erik. Invitations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.003.0003.
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This chapter describes the invitation poem, a genre of love poetry with its roots in the biblical Song of Songs that reflects on major questions that have always surrounded the nature of love. Does love entail recognition or fresh discovery, a completion of the self or a disruption of its contours? Is love primarily a natural passion or a cultural practice? The invitation poem, with its displacement of erotic desire onto an imagined landscape, negotiates these possibilities through its fusion of inward and outward, homecoming and exile, intimacy and alienation. The tradition initiated by the Song of Songs alters over the centuries, as poets including Christopher Marlowe and Charles Baudelaire, among many others, highlight different points of contact between the poetic and erotic imagination. The invitation genre can thus be seen as an archetypal form of love lyric, emphasizing some of the central paradoxes that link love to poetry.
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Tuite, Clara. Celebrity and Scandalous Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0021.
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This chapter studies scandalous fiction. One way of registering how scandal fiction might figure in a revised history of the novel is to consider scandal fiction as embodying everything that the polite novel sought to repudiate or disavow: criminality, sexuality, sensation, vulgarity, voyeurism, and reflexivity. For just as the novel genre itself is a scandal for much of the eighteenth century, the increasing respectability of the novel genre from the 1750s is predicated upon the move away from forms such as romans á clef and chroniques scandaleuses. Indeed, the English novel starts to define itself as a national genre against the scandalous excesses of the French or Italian novel—which it often does while exploiting and purveying these foreign excesses. This is particularly the case with the most scandalous forms of fiction: pornography and erotic fiction.
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Mortimer, Anthony. Shakespeare and Italian Poetry. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0019.
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Shakespeare’s poetry gains much by being read in the light of the Italian texts that founded both the genres he exploits: the Ovidian erotic narrative and the sonnet sequence. Italian poets such as Anguillara and Dolce had already adapted episodes from the Metamorphoses for stanzaic poems and their treatment of the Venus and Adonis story establishes the essential contours of Shakespeare’s version. Reading the Sonnets as part of a tradition that derives not only from Petrarch’s Canzoniere but also from Dante’s Vita Nuova illuminates such aspects of the genre as the relation between putative autobiography and exemplary narrative, stasis and progression, the sequence as open-ended form, and the corruption of vision. Finally, as an example of how Petrarchism enables some of the characteristic achievements of the late Renaissance, one may look briefly at the poetry of Michelangelo which foreshadows Shakespeare’s Sonnets by a thematic expansion which embraces problems of social and sexual identity and questions the validity of analogy as poetic argument.
Book chapters on the topic "Erotic genre"
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Cohen, Susan D. "Sleeping Beauties: Discourse, Gender, Genre in the “Erotic” Texts." In Women and Discourse in the Fiction of Marguerite Duras, 103–30. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-12926-3_4.
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Skretkowicz, Victor. "The fate of a genre." In European erotic romance. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526135117.00014.
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"The Ming Novella as a New Genre." In Ming Erotic Novellas, 11–26. The Chinese University Press, 2011. http://dx.doi.org/10.2307/j.ctt1p9wr3d.7.
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Potter, Susan. "Mobilizing Genre." In Queer Timing, 80–98. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042461.003.0005.
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This chapter considers the sexuality effects of a film released on the cusp of the transition to sound and which redeploys the codes of a nearly exhausted genre, the flapper film. While several scholars have read The Wild Party (dir. Dorothy Arzner, Paramount Lasky, 1929) in terms of its lesbian subtext, a mode of interpretation shaped by a representational regime that postdates the film’s release, this chapter traces how the visual erotics mobilized across the entire film render such scenes sexually legible. “Mobilizing Genre” argues that the site through which lesbian possibilities are paradoxically screened—that is, both projected and hidden from view—is the sexualized and kinetic body of the feminine flapper. In failing to anchor same-sex desire definitively to any one sexual category, The Wild Party’s sexual kinesthetics demonstrate the centrality of same-sex desire to female spectatorship in Hollywood cinema, and its intimate and productive relation to new erotic discourses of both homo- and heterosexuality.
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Ahmed, Omar. "Erotic Spectacle." In Studying Indian Cinema, 107–26. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0007.
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This chapter focuses on the courtesan film in Indian cinema. The courtesan film has been popular with audiences for a long time but today it is rare to see a mainstream Indian film choosing to use the figure of the courtesan to address the concerns of women in society. An extension of the Muslim Social, the courtesan film reached its creative epoch in the 1970s, exhausting genre possibilities with the erotic spectacle Pakeezah (Pure of Heart, 1972). A complicated production, film-maker Kamal Amrohi took fourteen years to complete Pakeezah. Unfortunately for Indian cinema's tragedy queen, Meena Kumari, who starred in the film, alcoholism cut short her life, and she never got to see what many consider to be her most accomplished work. The chapter analyses Pakeezah from a range of critical perspectives, including the conventions, origins, and history of the courtesan film; the production history and struggle to finish the film; representations of the courtesan related to sexuality and eroticism; an analysis of the song and dance sequences and their relationship to ideology; and the demise of the courtesan film in the contemporary era.
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Whittaker, Tom. "Sonorous Flesh: The Visual and Aural Erotics of Skin in Eloy de la Iglesia’s Quinqui Films." In Spanish Erotic Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474400473.003.0010.
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This chapter is a study of the erotic content of Eloy de la Iglesia’s quinqui films. Informed by senses-receptor-based film theories, the author reflects on the importance of the visual erotics of touch and skin, using the body of de la Iglesia’s actor fetiche José Luis Manzano as a productive and very fitting case study. The chapter proposes that the aesthetic roughness, the post-synch sound, and the delinquent narratives characteristic of this type of film, make it ideal to illustrate the kind of visual immediacy that sensually engages the viewer with the image on the screen. Manzano’s skin is often shown in close-up, pierced and tattooed. Through his work in de la Iglesia’s quinqui films, the actor became iconic of a genre fascinated with ‘the fragile glamour of male youth’ as a memorable example of what the press at the time referred to as the ‘estética de calzoncillo’,
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"Archi-Porn: Eroticism in Architectural Theory as it Relates to the Adult Film Genre." In The Erotic in Context, 129–37. BRILL, 2010. http://dx.doi.org/10.1163/9781848880252_014.
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Yates, Louisa. "‘Reader, I [shagged/beat/whipped/f****d/rewrote] him’: the sexual and financial afterlives of Jane Eyre." In Charlotte Brontë. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992460.003.0013.
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This chapter provides the first comparative reading of neo-Victorian fiction with the erotic makeover novel, a genre that realised commercial success in the immediate aftermath of the wild financial success of E.L. James’s Fifty Shades of Grey. Individual makeovers exactly reproduce the text of canonical novels such as Jane Eyre; the only additional material are passages of explicit, often BDSM-inflected, sexual encounters. This chapter examines the brief flare of global interest in the erotic makeover in order to demonstrate the genre’s appropriation of academic neo-Victorian vocabulary. As this chapter argues, such appropriation is deployed in order to obfuscate opportunistic financial imperatives. A comparative reading of Sienna Cartwright’s erotic makeover of Jane Eyre with D.M. Thomas’s neo-Victorian novel Charlotte initiates a dialogue between the two genres across the topics of authorship, fan fiction, copyright law, literary originality and neo-Victoriana. Both genres provide Charlotte Brontë and Jane Eyre with a curiously commercial afterlife.
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Winckles, Andrew O. "Mary Wollstonecraft, Hester Ann Rogers, and the Textual/Sexual Enthusiasms of Women’s Life-Writing." In Eighteenth-Century Women's Writing and the Methodist Media Revolution, 110–41. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620184.003.0004.
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Chapter Four examines women’s life-writing and the formation of an “erotic imagination” within life-writing as a genre. It begins by examining the Account of the Experience of Hester Ann Rogers (1793), one of the most influential works of Methodist life-writing, and reads it as against her earlier manuscript versions of the work. This reading reveals some of the ways and reasons Methodist women navigated different publication platforms and life-writing genres (private diary, semi-public scribal publication, print publication) in order to reach different audiences. Specifically, it examines Rogers’ status as a Methodist “mystic” who, in her diaries and manuscript works, represents a deeply erotic female mysticism that is edited out of her print publications. The chapter then turns to Rogers’ contemporary, Mary Wollstonecraft, to consider how both women use the life-writing genre to re-write the terms and conditions of female desire while textually re-orienting this desire away from the male gaze.
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Larsson, Mariah. "A National/Transnational Genre: Pornography in Transition." In Nordic Genre Film, 217–29. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0016.
Full textAbstract:
The most (in)famous Swedish pornographic film from the 1970s is perhaps Fäbodjäntan (Come and Blow the Horn, 1978). In the national imagination, it has become not only iconic of an era clouded by myth and legend of Swedish sin and a golden age of porn and erotic cult movies, but also of a half-jokingly celebrated Swedishness as well. Partly this has to do with the title and the setting, as Mats Bjorkin notes in his essay on the film ‘Fäbodjäntan: Sex, Communication, and Cultural Heritage’ (2005): the fäbod is a place away from farming villages where, historically, farmers brought their animals for summer pasturage. Women followed the herds to the fäbod to watch them. Although Come and Blow the Horn takes place in contemporary times, it still plays upon this national historical image, and it is shot in the county of Dalecarlia (Dalarna) which is particularly associated with the fäbod practice. Although perhaps not the ideal of Sweden, through its director’s use of national iconography – summer, the fäbod, an alleged Viking artifact (the horn itself), skinny-dipping – and more or less unintentional comedy, the film has through the years become a part of the ‘imagined community’ (Anderson 1983) of Sweden.