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Books on the topic 'Erotic genre'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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1

1954-, Perrin Jean-François, and Stewart Philip 1940-, eds. Du genre libertin au XVIIIe siècle. Paris: Desjonquères, 2004.

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2

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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3

Mauvais Genre(s) : Erotisme, pornographie, art contemporain. Du Regard, 2002.

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4

Erotic art by living artists: A veritable gallery of art of the erotic genre. Renaissance, CA: Directors Guild Publishers, 1988.

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5

Ming Erotic Novellas: Genre, Consumption, and Religiosity in Cultural Practice. Chinese University Press, The, 2011.

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6

1958-, Bright Susie, ed. The quiver: Erotic short stories. San Francisco: Chronicle Books, 2009.

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7

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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8

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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9

Mathematik des Begehrens. Hamburg, Germany: Shoebox House Verlag Hamburg, 2011.

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10

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.
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11

Katsushika, Hokusai, Howard Hibbett, Utamaro, Masato Naito, Kobayashi Tadashi, and Asano Shugo. Drama and Desire: Japanese Painting from the Floating World, 1690-1850. MFA Publications, 2007.

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12

Nishimura, Morse Anne, Asano Shūgō 1950-, and Museum of Fine Arts, Boston., eds. Drama and desire: Japanese paintings from the floating world, 1690-1850. Boston, Mass: Museum of Fine Arts, 2007.

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13

Drama and Desire: Japanese Paintings from the Floating World 1690-1850. Museum of Fine Arts Boston, 2007.

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14

Nishimura, Morse Anne, Asano Shūgō 1950-, and Museum of Fine Arts, Boston., eds. Drama and desire: Japanese paintings from the floating world, 1690-1850. Boston, MA: MFA Publications, 2007.

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15

Frankfurter, David. The Construction of Evil and the Violence of Purification. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0035.

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This chapter explores the construction of evil and the strategies of violence in purification. Prurient fascination and righteous revulsion both recreate and repel each other, developing an anxiety of confusion that has resulted in many circumstances in community efforts to cast the subject, the symbol, of that confusion. Erotic prurience into the nature and deeds of Evil may remain as a living genre for centuries without lending itself to societies as legitimation for purge. Dramaturgy and procession can contribute to brutal but cathartic narratives of saints and monsters, martyrs, and their persecutors, into the immediate festival lives of communities. Furthermore, brutality and atrocity are recurrent characteristics of any culture, often aggravated in situations of historical stress independent of religious systems.
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16

Houses, secrets, and the closet: Locating masculinities from the Gothic novel to Henry James. 2016.

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17

Wasdin, Katherine. Eros at Dusk. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.001.0001.

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This book analyzes the relationship between wedding poetry and love poetry in the ancient world. By treating both Greek and Latin texts, it offers an innovative and wide-ranging discussion of the poetic representation of social occasions. The discourses associated with weddings and love affairs both foreground ideas of persuasion and praise even though they differ dramatically in their participants and their outcomes. Furthermore, these texts make it clear that the brief, idealized, and eroticized moment of the wedding stands in contrast to the long-lasting and harmonious agreement of the marriage. At times, these genres share traditional forms of erotic persuasion, but at other points, one genre purposefully alludes to the other to make a bride seem like a girlfriend or a girlfriend like a bride. Explicit divergences remind the audience of the different trajectories of the wedding, which will hopefully transition into a stable marriage, and the love affair, which is unlikely to endure with mutual affection. Important themes include the threshold; the evening star; plant and animal metaphors; heroic comparisons; reciprocity and the blessings of the gods; and sexual violence and persuasion. The consistency and durability of this intergeneric relationship demonstrates deep-seated conceptions of legitimate and illegitimate sexual relationships.
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18

Thomas, Oliver. Hermetically Unsealed. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0008.

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The Hymn to Hermes offers a late archaic or early classical viewpoint on genre in lyric poetry. It compares hymns and theogonies to bantering songs at symposia, apparently in a paradox grounded in Hermes’ ability to control transfers across firm boundaries. However, the comparisons have a latent logic: the Hymn to Hermes is itself bantering intertextually with the Homeric Hymn to Apollo; it alludes to the fact that a komos can involve both praise-poetry and (post-)sympotic erotic songs. Moreover, Apollo’s first interaction with the lyre leads him to engage Hermes in a game of verbal banter, which suggests that this ability of the lyre to unite contrasting performance types will continue under his patronage. In this sense, the Hymn implicitly reflects on its own power to reshape the audience’s attitudes towards music.
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19

Hutchinson, G. O. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0026.

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Form, on the most detailed level, turns out to be inextricably connected with expression, meaning, and larger structure. Perhaps modern scholars underestimate form, as is apparent from the greater importance of metre in ancient conceptions of poetic genre. Rhythm plays an important part in building up the worlds of the rhythmic narrative writing that has been considered. At climactic moments of Chariton, rhythm intensifies the supremacy of love in the erotic scheme of values; in the moments of Plutarch, it helps the presentation of a broader scheme of values, where politics is not simply set aside, but where the individual can transcend powerlessness and death. Philosophy, comparison, the evolution and unpredictability of people are presented the more forcefully through passages heightened by rhythm; rhythm as elsewhere marks meaning and expresses thought. The greatness of Plutarch’s writing emerges much more strongly when we start to read him rhythmically.
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20

Wasdin, Katherine. Wild Horses and Beasts of Burden. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.003.0005.

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This chapter analyzes ancient animal metaphors according to interactive dynamics as well as species. Erotic praise of elite maidens presents them as proud racehorses and should be distinguished from metaphors of tamed or yoked hetairai that focus on the lover’s desired role as rider or driver. The marital yoke is a common metaphor in some genres, but yoking language found in the wedding discourse focuses on the unity of the couple rather than the control of the bride by the groom. Hunting metaphors that feature fearful or endangered animals are more common in erotic poetry or in tragic weddings, rather than in the wedding song. The chapter concludes with a series of Horatian odes that purposefully blur the lines between nuptial and erotic animals.
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21

Gautreau, Justin. The Last Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.001.0001.

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The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn’t already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry’s dynamic creation and re-creation of itself in the public imagination.
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22

La Fondazione Di Un Genere: Il Poema Eroico Tra Ariosto E Tasso. Carocci, 2002.

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23

Ceretti, Mario E. La Gente No Es Lo Que Aparenta: Cronicas de La Vida Familiar, Erotica y Profesional de Tres Hermanos Poco Comunes. Lugar Editorial, 2005.

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24

Martin, Daniel. Extreme Asia. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.001.0001.

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This book explains and analyses the unprecedented rise in visibility of ‘cult’ Asian cinema in the UK, especially between the years 2000 and 2005. Considering multiple factors behind the cultural, critical and economic success of Asia cinema in the West, this book focuses specifically on the hugely influential and pioneering (if deeply problematic) Tartan Films (formerly Metro-Tartan) Asia Extreme brand. This book is structured as a series of case studies, examining different films, filmmakers and distribution events in order to sketch an historical overview of this developing film cycle, paying attention primarily to the marketing and critical reception of these films. The Asia Extreme brand incorporated multiple genres – primarily horror, action, and erotic thrillers – and also elided the differences between various national cinemas. The role of Orientalism in both the marketing and reception of films from Hong Kong, Japan, and South Korea is also examined in detail.
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25

Byros, Vasili. Topics and Harmonic Schemata. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0015.

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Topics and harmonic schemata powerfully interact in the late eighteenth-century communicative channel. This chapter illustrates both a categorial and pragmatic interfacing of the two domains in Beethoven’s “Eroica” Symphony, where a particular schema, thele–sol–fi–sol(Byros 2012, 2009), enables the communication of a powerful philosophical message involving the spiritual consequences of suffering, self-sacrifice, and death. Thele–sol–fi–sol, as an instance of harmonic grammar, is closely related to theombratopic with mortal, funereal, and sacrificial connotations. As a hybrid symbolic structure, this schema–topic amalgam is the basis for establishing a number of correlations of oppositions in the structural and expressive domains of the symphony, which communicate a “tragic-to-transcendent” expressive genre and the cultural unit of “abnegation” (Hatten 1994).
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26

Tulloch, John, and Belinda Middleweek. Intimacy and Romance in Film Theory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0004.

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Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.
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27

Patterson, Christopher B. Open World Empire. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479802043.001.0001.

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Video games vastly outpace all other entertainment media in revenue and in global reach. On the surface, games do not appear ideological, nor are they categorized as national products, yet their very existence has been conditioned upon the spread of militarized technology, the exploitation of already existing labor and racial hierarchies in their manufacture, and the utopian promises of digital technology. Like literature and film before them, video games have become the main artistic expression of empire today and thus form an understanding for how war and imperial violence proceed under the signs of openness, transparency, and digital utopia. To understand games as such, this book uses Asian American critiques to discusses games as Asian-inflected commodities, with their hardware assembled in Asia, their most talented e-sports players of Asian origin, and most of their genres formed by Asian companies (Nintendo, Sony, Sega). Games draw on established discourses of Asia to provide an “Asiatic” space, a playful sphere of racial otherness that straddles notions of the queer, the exotic, the bizarre, and the erotic, reminiscent of the works of Roland Barthes, Michel Foucault, and Eve Sedgwick. Thinking through games like Overwatch, Call of Duty 4: Modern Warfare, Shenmue II, and Alien: Isolation, Patterson reads against the open world empire by playing games erotically, as players do—seeing games as Asiatic playthings that afford new passions, pleasures, desires, and attachments, with grave attention to how games allow us to tell our own stories about ourselves.
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28

Baird, Jacqueline. El regreso de una esposa. 2013.

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29

1961-, Pujol Ernesto, Light Work (Organization : Syracuse, N.Y.), Robert B. Menschel Photography Gallery., and Visual AIDS (Organization), eds. Desire: Contemporary photography from the Visual AIDS Archive Project. Syracuse, N.Y: Light Work, 1999.

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30

Editor), Jeffrey Hoone (Designer, and Gary Schneider (Photographer), eds. Genetic Self-Portrait. Light Work, 1999.

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