To see the other types of publications on this topic, follow the link: Erotic genre.
Journal articles on the topic 'Erotic genre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Erotic genre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full text
5
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.
Full text
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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
8
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.
Full text
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Schade, Gerson. "Pushkin and Ovid." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (December 15, 2019): 105–17. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.7.
Full textAbstract:
Alexander Pushkin knew what he shared with Ovid. Both were exiled, having enjoyed a splendid life, both were highly gifted, and not too shy of erotic adventures – of which they speak amply in their poetry. The Russian formalist Tynyanov pointed at such similarities, inventing the literary genre of ‘docufiction’.
12
Green, Karen. "Women's Writing and the Early Modern Genre Wars." Hypatia 28, no. 3 (2013): 499–515. http://dx.doi.org/10.1111/j.1527-2001.2012.01286.x.
Full textAbstract:
This paper explores two phases of the early modern genre wars. The first was fought by Marie de Gournay, in her “Preface” to Montaigne's Essays, on behalf of her adoptive father and in defense of his naked and masculine prose. The second was fought half a century later by Nicholas Boileau in opposition to Gournay's feminizing successor, Madeleine de Scudéry. In this debate Gournay's position is egalitarian, whereas Scudéry's approximates to a feminism of difference. It is claimed that both female protagonists in this early debate occlude the female body. The far more sexually explicit prose of Mary Delarivier Manley is then used to raise the question: is it genre, or is it, rather, the very nature of erotic sexuality, that makes it so difficult for women to masterfully expose themselves as authoritative subjects?
13
Khan, Ali. "In the bedroom." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 225–31. http://dx.doi.org/10.1386/fspc_00081_1.
Full textAbstract:
Boudoir photography is going through a renaissance. Having being rediscovered by whole new generation of amateur smartphone photographers and influencers, the genre has taken a new and exciting direction. The intimacy and erotic nature of this genre is now also injected with a dose of raw realism that further adds to the legitimacy of the image. This newly evolved aesthetic has been equally influential on fashion editorials and fashion ad campaigns from streetwear to luxury brands. In this series of photographs and the accompanying essay, the author/photographer aims to document such aesthetic by capturing the mood and fashion of the current times and analysis the background for such fashion editorial images.
14
Paraskeviotis, George C. "Women and Genre in Calpurnius Siculus’ Eclogues." Antichthon 54 (2020): 103–26. http://dx.doi.org/10.1017/ann.2020.3.
Full textAbstract:
AbstractThis article aims to examine the ways in which the Calpurnian text converses with the earlier pastoral tradition focusing on the women identified in the collection. Leaving aside the mythical female figures who are also traced in the collection (e.g. Pales and Venus), this study focuses on all the female characters mentioned by male figures, trying to show that women in the Eclogues, among other elements (such as subjects, motifs, intertexts, language and style), constitute a significant means by which Calpurnius shows originality and generic evolution.It is argued that the female characters in Calpurnian pastoral are the erotic objects of the herdsmen and the recipients of their songs and in that sense they recall the pastoral tradition (Greek and Roman) that Calpurnius inherited. What is more, they are central metapoetic elements which show Calpurnius’ metaliterary engagement with gender in a collection that stresses the originality of the Neronian pastoral. Most importantly, however, they incorporate features and elements from other literary genres (mostly from Roman comedy and love elegy) and in that sense they constitute a significant means by which Calpurnius maintains the generic tensions employed by his literary antecedents (i.e. Vergil) and broadens the limits of pastoral.
15
McGurl, Mark. "Unspeakable Conventionality: The Perversity of the Kindle." American Literary History 33, no. 2 (March 7, 2021): 394–415. http://dx.doi.org/10.1093/alh/ajab004.
Full textAbstract:
Abstract What has the rise of Amazon meant for the novel? This essay argues that in shifting the scene of innovation from the novel’s form to the ways and means of its distribution, the company has redefined authorship as the entrepreneurial provision of good service to readers and reading itself as a repeatable experience of erotic self-care. Conceived in this way, all fiction is “genre fiction,” including so-called literary fiction, which for Amazon is simply one modality of the perverse pursuit of customer satisfaction among others. As an occasion for felicitous repetition, genre fiction takes the lead in defining the situation of the novel now, suggesting a new set of emphases in the critical analysis of the contemporary literary field.
16
Madsen, Lea Heiberg. "“Remember... Whose girl you are”: Dynamics of domination in Sarah Waters’s Affinity (1999)." International Journal of English Studies 13, no. 1 (May 15, 2013): 149. http://dx.doi.org/10.6018/ijes/2013/1/136861.
Full textAbstract:
<p>This paper discusses, from a psychoanalytic perspective, Sarah Waters’s novel <em>Affinity</em> (1999)<em> </em>which has played a crucial role in the consolidation of the neo-Victorian genre and, indeed, has become a touchstone for contemporary feminist fiction. Through Jessica Benjamin’s intersubjective theory it analyses Waters’s extraordinary re-presentation of women’s same-sex relationships, with particular focus on the dynamics of domination and submission which characterises the female couples in the novel. Benjamin's approach to the problem of domination gives valuable insight into the psychological structures of erotic hierarchy and, in turn, opens up for new ways to understand erotic desire and power dynamics between men and women, or between people of the same sex. In addition, an exploration of <em>Affinity</em> from an intersubjective perspective casts light onto how the novel transgresses both Victorian boundaries and those that persist in contemporary culture.</p>
17
Biggin, Rose. "Labours of Seduction in Immersive and Interactive Performance." New Theatre Quarterly 36, no. 1 (February 2020): 73–83. http://dx.doi.org/10.1017/s0266464x20000111.
Full textAbstract:
Much theatrical work that calls itself ‘immersive’ uses tropes of the erotic to achieve its intended effects. In this article Rose Biggin identifies structural and performative strategies in the use of the erotic in this genre. What does it mean to identify the process of performed seduction as central to much immersive dramaturgy? Through readings of contemporary productions that draw upon (or appropriate) pre-existing erotically charged environments, the inevitable responsibilities for makers working in this context of immersion are considered, as is the importance of considering the consequences for those working in immersive spaces. Stress is laid on the crucial role that this form of performative labour often plays in immersive performance, and a continued recognition of its influence is emphasized. Rose Biggin is an independent scholar and theatre artist based in London. She received her PhD from the University of Exeter, researching audience immersion and the work of Punchdrunk, and both writes and makes work on gender, history, and language. She is author of Immersive Theatre and Audience Experience (2017).
18
Rimmer, Mary. "Troubling the Tragic Paradigm: Genre and Epigraph in Thomas Hardy’s Tess of the d’Urbervilles." Journal of Victorian Culture 25, no. 3 (May 5, 2020): 381–92. http://dx.doi.org/10.1093/jvcult/vcaa011.
Full textAbstract:
Abstract The rarely discussed epigraph to Thomas Hardy’s Tess of the d’Urbervilles – ‘Poor wounded name! My bosom as a bed | Shall lodge thee’ – at first seems an odd choice. Tess is usually read as a tragedy; the epigraph’s source, Shakespeare’s The Two Gentlemen of Verona, is a comedy. The speaker of these lines in the play is a woman, the ‘wounded name’ a man’s, and the immediate context one of erotic playfulness as Julia tears up Proteus’s love letter and then tenderly gathers up the fragments. Yet the apparent mismatch works, because it gestures towards both the generic instability of Two Gentlemen, and the novel’s own unstable genre. Hardy recurrently raises the question of how Tess Durbeyfield’s story should be read. Tess’s ‘fall’ is at different times and for different people a fatal blot on her prospects, a venial error, and material for an amusing or satirical story. Novel and heroine hover between genres; generic interpretations are complicated by gender and class. Early reviewers who refused to read Tess as a tragedy may seem wrong-headed and puritanical in hindsight, but they were in some ways more alive to the novel’s generic slippages than many later readers. Hardy at once invokes and unsettles generic models, in his choice of epigraph and throughout the book.
19
Fasselt, Rebecca, Corinne Sandwith, and Khulukazi Soldati-Kahimbaara. "The short story in South Africa post-2000: Critical reflections on a genre in transition." Journal of Commonwealth Literature 55, no. 1 (September 5, 2018): 4–21. http://dx.doi.org/10.1177/0021989418778080.
Full textAbstract:
This editorial offers critical reflections on short story writing in South Africa post-2000. Against the background of critical scholarship on the short story form and thematic trends of short story anthologies since the late 1980s, we argue that short story criticism on apartheid as well as contemporary South African short story writing has consistently emphasized the genre’s disposition to capture the fragmented realities of socio-political transitions in the country. Critics have frequently observed a shift from the overtly politicized short story of the 1970s and 1980s to a return to a more literary and modernist aesthetics in the present. In this special issue, we intend to complicate this reading by mapping out other trajectories the short story has taken in recent years, which point toward the emergence of more popular subgenres such as speculative fiction, crime fiction, and erotic fiction. Short stories also increasingly examine and challenge conventional sexuality and/or gender-based norms.
20
Kębłowska-Ławniczak, Ewa. "Eroticism in and of the City: The Question of Approach." Text Matters, no. 3 (November 1, 2013): 139–53. http://dx.doi.org/10.2478/texmat-2013-0031.
Full textAbstract:
Discussions of eroticism usually commence with references to Georges Bataille and his L’Erotisme, whose first English edition was published under the title Death and Sensuality: A Study of Eroticism and the Taboo (1962), thus encouraging analyses in terms of transgression. This article opens with a quotation from Zygmunt Bauman’s essay, “On Postmodern Uses of Sex,” which reflects on the instability of the concept and emphasizes its contextualization. This openly declared incongruity raises questions of applicability. What is meant by eroticism today, i.e. in and after postmodernism? The article seeks to explore the relevance of the term in studies of urban drama and tries to suggest a workable approach that would differentiate between the commonly observable erotic material found on display within the premises of the city and the eroticism of the city itself. In the latter case the erotic relationship involves the materiality of the urban context and its user. The essay, focusing on drama, assumes that plays are written for the stage-their proper mode of existence-and deems it necessary to include the city/theatre and city/drama interdependence as well as the nexus of concepts such as urban drama and its genre restrictions into the following analysis.
21
Brodsky, Joyce. "Delacroix's "Le Lever," Cezanne's "Interior with Nude," Picasso's "Les Demoiselles d'Avignon," and the Genre of the Erotic Nude." Artibus et Historiae 7, no. 13 (1986): 127. http://dx.doi.org/10.2307/1483252.
Full text
22
Quick, Laura. "The Hidden Body as Literary Strategy in 4QWiles of the Wicked Woman (4Q184)." Dead Sea Discoveries 27, no. 2 (June 19, 2020): 234–56. http://dx.doi.org/10.1163/15685179-02702003.
Full textAbstract:
Abstract The short sapiential poem known as 4QWiles of the Wicked Woman (4Q184) describes the body of an unnamed female who ensnares the righteous into sin and ultimately death. This poetic description of a body has sometimes been compared to the Waṣf, a type of poem which provides a thick description of the body, listing and describing body parts in a movement descending from head to toe. In this essay, I explore the description of the woman’s body in 4Q184 in light of the genre of the Waṣf. By playing with the characteristic structure of the Waṣf, 4Q184 highlights certain aspects of the woman’s body in order to say something specific about her role and activities. In so doing, I uncover an image of the woman which is more erotic than commentators have previously allowed.
23
Kachalin, Stepan E. "ARCHERS AND MILKMAIDS: EROTIC WIT IN DUTCH AND FLEMISH GENRE PRINTS OF THE TURN OF THE 16TH AND 17TH CENTURIES." Articult, no. 4 (2018): 71–90. http://dx.doi.org/10.28995/2227-6165-2018-4-71-90.
Full text
24
Whyke, Thomas William, and Zhongli Yu. "Becoming-Woman in Pu Songling’s Strange Tales." Journal of Chinese Humanities 6, no. 1 (December 29, 2020): 92–113. http://dx.doi.org/10.1163/23521341-12340085.
Full textAbstract:
Abstract This article examines the animal–human erotic encounters in Pu Songling’s strange [zhiguai 志怪] tales, using Gilles Deleuze and Félix Guattari’s theories of becoming-woman and affect to think through several intersecting kinds of otherness, including the queer, the woman, the animal, and the strange. Zhiguai is a genre of writing that features ghosts, magical animal–human shapeshifting, dreams that intervene in reality, and other supernatural characters and events. The traditional scholarly approach to the zhiguai tales has been to understand queerkind in these tales as purely allegorical representations of humans and human society. This article approaches them from the perspective of their distinct supernatural qualities or the importance of hybrid human-animal bodies in the stories, as opposed to an anthropocentric reading of the zhiguai tales. It argues that the bodily transformations in the zhiguai tales are Deleuzian becoming-woman, which are sexually transgressive when eroticized queerkind bodies and desires queer the Confucian feminine norm of chaste women.
25
Xinyue, Bobby. "THE DIDOS OF BOOK FOUR: GENDER, GENRE, AND THEAENEIDIN PROPERTIUS 4.3 AND 4.4." Greece and Rome 65, no. 2 (September 17, 2018): 218–41. http://dx.doi.org/10.1017/s0017383518000165.
Full textAbstract:
In the second poem of Propertius’ fourth book, the form-shifting deity Vertumnus claims that he is suited to any role that he is associated with because he can appear convincingly as a girl or a man:indue me Cois: fiam non dura puella; /meque uirum sumpta quis neget esse toga?(‘dress me in Coan silk, I shall be a gentle maiden: and who would say that I am not a man when I don the toga?’, 4.2.23–4). Later in Propertius 4.9, another gender ambiguous character, Hercules, while trying to gain entry into the shrine of the Bona Dea, boasts that he had woven and performed a handmaiden's service (4.9.47–50):idem ego Sidonia feci seruilia pallaofficia et Lydo pensa diurna colo;mollis et hirsutum cinxit mihi fascia pectus,et manibus duris apta puella fui.I have also done the tasks of a slave-girl in a Sidonian gownand worked at the daily burden of the Lydian distaff.A soft breastband has surrounded my shaggy chest,and with my hard hands I was a fitting girl.Scholars have noted that the language used by Propertius to depict gender inversion in these episodes has profound implications for understanding the generic complexity of the poet's new, more aetiological, fourth book. DeBrohun points out that, when Hercules recalls the soft (mollis) breastband on his hairy (hirsutum) chest – a contrast further substantiated by his claim that he had become apuellawith rough hands (manibus duris) – the hero ‘softens’ his appearance in terms that resonate strongly with the Augustan poets’ expression of the terminology of Callimachean poetics, thus allowing readers to interpret this scene as an act of generic realignment that symbolizes Book 4's attempt to accommodate both grand topics and erotic narratives.
26
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.
Full textAbstract:
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.
27
Belyutin, Roman. "Sports Fans’ Discourse: Metaphors They Live by (Based on M. Andrack’s «Lebenslänglich Fußball. Vom Wahnsinn, Fan zu sein»)." Izvestia of Smolensk State University, no. 4 (52) (December 16, 2020): 127–36. http://dx.doi.org/10.35785/2072-9464-2020-52-4-127-136.
Full textAbstract:
The article is devoted to the analysis of sports fans’ discourse which is an important part of sports communication. This discourse is examined in the light of the cognitive metaphor as an object for world cognition and modelling. The research is based on one of the most popular works of the new genre (fan
diary) – the book written by M. Andrack, a journalist, writer and TV presenter who has a status of an experienced football fan apart from his vocation. Research methods comprise cognitive and discourse analysis, modelling, classification,
distributional analysis applied to reveal collocations of certain lexemes. On the basis of the results of the empirical analysis, the article reveals metaphoric representations of key concepts in fans’ subculture built round «rooting »; metaphors having a common reference source (religion, magic, theatre, vehicles, medicine, erotic art, gender, etc.) are united into bigger groups – metaphoric models. The work demonstrates classic and specific (via precedent facts of life and intradiscourse import of concepts) variants for conceptualization of reality by football fans through the metaphoric reference system.
28
Wilcox, Emily E. "Beyond Internal Orientalism: Dance and Nationality Discourse in the Early People's Republic of China, 1949–1954." Journal of Asian Studies 75, no. 2 (March 16, 2016): 363–86. http://dx.doi.org/10.1017/s0021911815002090.
Full textAbstract:
Representations of dancing minorities have often been viewed in contemporary Chinese studies as examples of a broader discursive practice of “internal Orientalism,” a concept developed by anthropologists in the mid-1990s, based on fieldwork conducted in the 1980s and early 1990s. A historical examination of state-sponsored minority dance in the early PRC (1949–54) suggests that internal Orientalism may not be a generalizable explanatory framework for minority dance and its relationship to PRC nationality discourse. During a time when external military threats to the nascent PRC loomed large, long-standing ethnic stereotypes were perceived as a vulnerability to national security and targeted for reform through new policies of state multiculturalism. Thus, rather than portraying minorities as exotic, erotic, and primitive, early PRC dance constructed minorities as models of cultural sophistication, civility, and respectability. Likewise, rather than envisioning a developmental hierarchy between Han and minority dance, national performing arts institutions established during this period constructed Han and minority dance as parallel modes of ethnic performance categorized together as a new genre, “Chinese folk dance.”
29
Cantillo Lucuara, Mayron Estefan. "“Come, Dark-eyed Sleep”: Michael Field and the Performance of the Lyric as a Radical Fantasy." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 43. http://dx.doi.org/10.14198/raei.2021.35.02.
Full textAbstract:
This article seeks to illustrate how the Michael Fields articulate their Sapphic poetry in Long Ago (1889) not only in keeping with their own Shakespearean aspirations and with Robert Browning’s hybrid formula of dramatic lyrics, but also in connection with Jonathan Culler’s theory of the lyric as a performative genre. Much recent scholarship has broken ground in the rediscovery and reappraisal of the Fields’ literary stature, yet the general critical approach has been divisive in addressing their poetry and their verse dramas separately. Some critics have taken heed of how their lyrics in general exhibit an intrinsic dramatic temper, yet no systematic inquiry has discussed how this lyrical dramaticity is manifest in any particular instance. Thus, this article singles out Long Ago’s second poem for its powerful performative energy, offering a close reading of each line, and demonstrating that it amounts to a hybrid dramatic lyric, as well as a tragic and transgressive performance in which a new Sappho takes centre stage as a Dionysian apologist of radical erotic fantasies.
30
Drinkwater, Megan O. "THE WOMAN'S PART: THE SPEAKING BELOVED IN ROMAN ELEGY." Classical Quarterly 63, no. 1 (April 24, 2013): 329–38. http://dx.doi.org/10.1017/s0009838812000626.
Full textAbstract:
Roman elegy is well known for its reversal of traditional Roman gender roles: women are presented in positions of power, chiefly but not exclusively erotic, that bear little or no relation to women's lived experience in the first centuryb.c.e. Yet the way elegy presents the beloved in a position of power over her lover, as Sharon James has observed, ‘retains standard Roman social and power structures, thus suggesting an inescapable inequity even within a private love affair: rather than sharing goals and desires, lover and beloved are placed in a gendered opposition … Hence resistant reading by thedominais an anticipated and integral part of the genre’. James's remark is indeed correct for each of the instances in which thedomina, or female beloved, speaks directly. When she does so, as James also shows, she speaks at cross-purposes with her lover, following a script that is designed ‘to destabilize him’ in an attempt to keep his interest. Yet what has not been noticed is that when the beloved is instead male, the situation is quite different. Tibullus' Marathus in poem 1.8, our sole example of a male elegiac beloved-turned-speaker, is the exception that proves the fundamental rule of gender inequity. Marathus, that is, when given the opportunity to speak, does in fact share the aims of a male lover, albeit in pursuit of his ownpuella. When the gendered opposition so integral to elegy is erased, the beloved no longer protests against the strictures of the genre; when both are male, lover and beloved alike are entitled to speak as elegiac lovers.
31
Yael Levin. "Joseph Conrad: Voice, Sequence, History, Genre, and: Sexuality and the Erotic in the Fiction of Joseph Conrad (review)." Partial Answers: Journal of Literature and the History of Ideas 7, no. 2 (2009): 356–59. http://dx.doi.org/10.1353/pan.0.0156.
Full text
32
Han, Jung-Sun. "The Redefinition of the Modern Japanese Detective Genre and Edogawa-Ranpo : Noticing on the Transition from ‘hentai’ to ‘erotic･grotesque’ Around 1930." Journal of Japanology 53 (April 30, 2021): 249–73. http://dx.doi.org/10.21442/djs.2021.53.11.
Full text
33
Henderson, John. "A Doo-Dah-Doo-Dah-Dey at the Races: Ovid Amores 3.2 and the Personal Politics of the Circus Maximus." Classical Antiquity 21, no. 1 (April 1, 2002): 41–65. http://dx.doi.org/10.1525/ca.2002.21.1.41.
Full textAbstract:
Ovid's two versions of his encounter with a woman at the races in the Circus Maximus (Amores 3.2; Ars Amatoria 1.135-70) are re-read together as celebrations of the spectacle of the spectators in the arena. The analytical approaches of "Everyday Life" collage and "Foucauldian panopticism" structure are shown to "over-achieve." Ovid dramatizes personal politics at the Circus in a sustained display of the self-reflexive poetics of erotic metaphor. When elegiac amor is acted out as a race, victory and favor are eroticized, steering between crude explicitness and bland circumlocution, into an expert triumph of sexual asymmetry. Ovid finds a version of femineus amor which brings his poem to a climax, and a climax to his poem, in spite of public decency and myriad spectators. Every quirk, routine, or landmark of the ludi circenses, including the parade of the gods, is included as a challenge for Ovid's poetic chariot, another lap in the race-or another race, re-run according to a fresh strategy. Re-playing the meta-literary terms of poetic genre, Amores 3.2 gives an "epinician" turn to Amores 3, playing games on Callimachean strategies for re-starting a work on a new lap.
34
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.
Full textAbstract:
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.
35
Idema, Wilt L. "Ming Erotic Novellas: Genre, Consumption, and Religiosity in Cultural Practice. By Richard G. Wang. Hong Kong: Chinese University Press, 2011. xiv, 319 pp. $50.00 (cloth)." Journal of Asian Studies 71, no. 2 (May 2012): 537–38. http://dx.doi.org/10.1017/s0021911812000320.
Full text
36
Lankewish, Vincent A. "LOVE AMONG THE RUINS: THE CATACOMBS, THE CLOSET, AND THE VICTORIAN “EARLY CHRISTIAN” NOVEL." Victorian Literature and Culture 28, no. 2 (September 2000): 239–73. http://dx.doi.org/10.1017/s1060150300282016.
Full textAbstract:
Catacomb, n., a subterranean place for the burial of the dead, consisting of galleries or passageways with recesses excavated in their sides for tombs.The Oxford English DictionarySilence itself — the things one declines to say, or is forbidden to name, the discretion that is required between different speakers — is less the absolute limit of discourse, the other side from which it is separated by a strict boundary, than an element that functions alongside the things said, with them and in relation to them within over-all strategies.Michel Foucault, The History of SexualityWe often assume (rightly) that homosexuality must be hidden, that it has to be found.Neil Bartlett, Who Was That Man?I. Ruining the Religious NovelBY TITLING THIS ESSAY “Love Among the Ruins,” I mean at once to be literal, figurative, and allusive in the framing of my topic: literal, in that I will be examining the place of love — specifically, erotic love — within the Roman catacombs or equivalent sites of Christian sanctuary; figurative, in that the representations of love that I will be discussing occur within the context of “literary ruins” — that is, within a relatively obscure nineteenth-century English narrative sub-genre, the Victorian “Early Christian” novel1; and, finally, allusive, in that I deliberately invoke the first poem of Robert Browning’s 1855 collection of dramatic monologues, Men and Women, for more than mere rhetorical effect. In fact, “Love Among the Ruins” condenses a number of the key concerns that I want to address in this essay, for the poem offers an important critique of classical culture not only as a site of pagan aesthetic production and human vainglory, but, relatedly, of homosocial and, perhaps, homoerotic bonds and the sterility presumed to inhere therein — a critique highly visible in Victorian Early Christian fiction. Indeed, I would argue, Browning’s text implicitly participates in the discursive construction of an important, if ultimately unstable, dichotomy that Victorian novels set in the catacombs and written roughly around the same time as “Love Among the Ruins” powerfully reinforce: namely, the traditional opposition between classicism and Christianity, an opposition at least one facet of which is rooted in competing attitudes toward the erotic.
37
Leonard, Miriam. "Irigaray's Cave: Feminist Theory and the Politics of French Classicism." Ramus 28, no. 2 (1999): 152–68. http://dx.doi.org/10.1017/s0048671x00001764.
Full textAbstract:
Although there are countless feminist readings of Plato and readings of Plato as (a) feminist, the French feminist theorist Luce Irigaray's extended—nearly 200 page!—reading of the cave passage from Book 7 of Plato's Republic may still come as something of a surprise to the classicist. In the recently published book Feminist Interpretations of Plato, however, there is an essay by Irigaray on Plato's Symposium included as just another example of this now established genre. Just any other?—well not quite… As in its sister volume Feminist Interpretations of Aristotle, the editors have decided that unlike any other article in the collection, Irigaray's contribution needs some further exegesis for the classical scholar. An essay on Irigaray reading Plato appears in tandem to her own article. Just like in the Aristotle volume, this essay presents itself as a guide to the perplexed, explaining to the ancient philosopher schooled in a more traditional idiom of Anglo-Saxon academic research some of the context for Irigaray's seemingly inappropriate style. Freeland writes of Irigaray's Aristotle piece: ‘Irigaray's essay will be astonishing to the Aristotle scholar who reads it unaware of Irigaray's earlier writings’; in fact, she continues, ‘…it may seem unclear whether one is reading Aristotle scholarship, a primitive biology text or an erotic novel ….Reading her then,’ she concludes, ‘is far different from reading the usual commentators on the Physics. Clearly, style is paramount to Irigaray's method of reading.’
38
Fernandes, José Carlos, and Agnes Do Amaral. "Grafipar Edições: uma reação erótica à ditadura militar." Revista Internacional de Folkcomunicação 19, no. 42 (July 2, 2021): 173. http://dx.doi.org/10.5212/rif.v.19.i42.0009.
Full textAbstract:
Durante a primeira década da ditadura-civil militar, uma editora curitibana – a Grafipar –, de propriedade de uma família muçulmana, deixa de publicar livros de história e atlas e passa a investir no ramo de “revistas adultas”. Torna-se um polo nacional do gênero, chegando ao ápice de 49 títulos, 1,5 milhão de exemplares mês e 1,5 mil cartas/mês de leitores. Entre seus colaboradores, jornalistas malvistos pelo regime e intelectuais à esquerda, como os poetas Paulo Leminski e Alice Ruiz. Em meio aos então chamados “nus artísticos”, uma pequena de rede de intelectuais, de forma anônima, orientava a redação, num claro combate ao obscurantismo. Este artigo explora a resistência jornalística e intelectual disfarçada no conteúdo erótico. E o “lugar difícil” da qualificação desse material, que ficou à margem da chamada imprensa alternativa.
Imprensa alternativa; revistas eróticas; comportamento.
During the first decade of brazilian military dictatorship, a publishing house from Curitiba - Grafipar -, owned by a muslim family, stopped publishing history books and atlas and started to invest in adult themed magazines. Grafipar became a renowned publisher of this genre, reaching the peak of 49 titles, 1.5 million copies per month and 1.5 thousand letters from readers per month. Among the contributors were journalists that were frowned upon by the military regime and left-wing intellectuals, such as the poets Paulo Leminski and Alice Ruiz. Amid the “nude art”, a small net of intellectuals, anonymously, guided the editorial, in a clear fight against obscurantism. This article explores the journalistic and intellectual resistance disguised as erotic content and the difficulty to qualify this material, which were on the sidelines of the so called alternative press.
Alternativa press; erotic magazines; behavior.
Durante la primera década de la dictadura civil militar, una editora curitibana - la Grafipar -, de propriedad de una familia muzulmana, deja de publicar libros de história y atlas y comienza a invertir en el ramo de las "revistas adultas". Volviendose un polo nacional del género, llegando al ápice de 49 títulos, 1,5 millones de ejemplares al mes y 1,5 mil cartas/mes de lectores. Entre sus contribuyentes, periodistas malvistos por el régimen e intelectuales de izquierda, como los poetas Paulo Leminski y Alice Ruiz. En médio a los llamados desnudos artísticos, una pequeña red de intelectuales, de forma anónima, guiaba la redacción, en un claro combate al oscurantismo. Este artículo explora la resistencia periodística e intelectual disfrazada en el contenido erótico. Y el "lugar difícil" de la calificación de ese material, que quedó al margen de la llamada prensa alternativa.
Prensa alternativa; revistas eróticas; comportamento.
39
Lowe, N. J. "Sulpicia's Syntax." Classical Quarterly 38, no. 1 (January 1988): 193–205. http://dx.doi.org/10.1017/s0009838800031402.
Full textAbstract:
In the six remarkable elegidia transmitted in the Tibullan corpus as 3.13–18 (4.7–12) we appear to possess the writings of an educated Roman woman of aristocratic family and high literary connections: a woman, moreover, who participates as an equal in one of the most distinguished artistic salons of the age, and composes poetry in an obstinately male genre on the subject of her own erotic experience, displaying a candour and the exercise of a sexual independence startingly at odds with the ideology of her class. Such a figure is either, depending on one's viewpoint, too good to be true or too embarrassing to be tolerated. The case could easily be put that Sulpicia, more perhaps even than Sappho, has found her poems condemned by accident of gender to a century and a half of condescension, disregard, and wilful misconstruction to accommodate the inelastic sexual politics of elderly male philologists. Certainly even the most sympathetic of recent comment is prone to lapse into a form of critical language outlawed in Catullan scholarship thirty years ago. Yet feminist critics have been strangely cautious in their response. A scholar who rose swiftly to the defence of Erinna when that elusive poet's identity was impugned has notoriously written of Sulpicia:‘She was not a brilliant artist: her poems are of interest only because the author is female.’ Five years late, Sulpicia has found a place in the major sourcebook on ancient women, but with the cycle of poems violently reordered after the judgment of a nineteenth-century (male) critic, anxious to restore his poetess's chastity against the disconcerting frankness of the texts.
40
Hejman, Helena. "Powierzchowność Schulza." Schulz/Forum, no. 13 (October 28, 2019): 109–18. http://dx.doi.org/10.26881/sf.2019.13.08.
Full textAbstract:
It is high time to point out that superficiality as a feature of Bruno Schulz’s motifs is not something to be ignored. In Schulz’s short stories superficiality serves as an underestimated genre of perception that allows one to notice the multiple (erotic, psychic, social, theatrical) qualities spread or concentrated on the surface of creatures. Paul Valéry wrote in L’idée fixe, “What lies deepest of all in man is the skin.” In Schulz’s fiction this dictum proves to be true without a paradox. The present paper is an attempt to consider the characters of Schulz’s literary universe in terms of superficiality. There, corporeality and psyche – practically every essence – are covered with multiple layers: clothes, meanings, the density of libido, and mystery. But the temptation to go down to the core has to be resisted to concentrate on the perceived sensual surface, rather than hunt the ever eluding content, the intangible eidos. It seems that Schulz tried to evoke the potential of the emballage, which makes it possible to explore the overlooked but still meaningful covers. Covers, layers, and surfaces that people are accustomed to become so obvious and transparent that they can easily become equivocal. That is where we start to perceive them as emballage – the terra incognita inspiring the foretaste; the membrane to project individual impressions; a “superficial” medium which triggers the game between the visible and the invisible. The outer wraps, unlike the symbol, do not reach to the depth of phenomena; instead, the spectator’s attention is focused on the surface, leaving the shape, contours or the content of whatever lies behind to guesswork. The covered thing manifests its material presence and the mystery of its form and that is what seems to attract the narrator of Schulz's stories the most: the language of facial expressions, the traces of personality left on the skin, exteriors, and appearances. They tempt themselves, by giving a hunch of something extraordinary – all the more valuable because they cannot be translated, understood, exposed or verified. The author provides an overview of the “superficial” motifs in Schulz’s stories.
41
Creese, Helen, and Laura Bellows. "Erotic Literature in Nineteenth-Century Bali." Journal of Southeast Asian Studies 33, no. 3 (October 2002): 385–413. http://dx.doi.org/10.1017/s0022463402000309.
Full textAbstract:
Two nineteenth-century Balinese genres in which the erotic predominates are epic kakawin poetry and tutur (religious manuals) on sexual yoga. The article points to the strong intertextual links between these diverse genres. Through their focus on practical sexual matters and on the pursuit of sexual pleasure as integral to spiritual growth, tutur and kakawin also offer insight into notions of gender and sexuality in nineteenth-century Bali.
42
Moore, Ken. "EROTIC THEMES IN PLATO - (L.) Brisson, (O.) Renaut (edd.) Érotique et politique chez Platon. Erôs, genre et sexualité dans la cité platonicienne. Pp. 274. Sankt Augustin: Academia Verlag, 2017. Paper, €29.50. ISBN: 978-3-89665-725-1." Classical Review 69, no. 2 (May 9, 2019): 398–401. http://dx.doi.org/10.1017/s0009840x19000738.
Full text
43
Mian, Ali Altaf. "Genres of Desire: The Erotic in Deobandī Islam." History of Religions 59, no. 2 (November 2019): 108–45. http://dx.doi.org/10.1086/704928.
Full text
44
Bikulčius, Vytautas. "Michel Houellebecq’s Submission – a novel of decadence." Literatūra 61, no. 4 (December 20, 2019): 94–100. http://dx.doi.org/10.15388/litera.2019.4.7.
Full textAbstract:
Michel Houellebecq’s Submission has been analysed as a novel of decadence in this paper. Referring to the works of Michel Winock, François Livi and Michel Onfray, it has been found that a decadent novel can be associated not only with the works of Joris-Karl Huysmans, Pierre Loűys, Jean Lorrain and others produced at the end of the 19th century but also at subsequent periods. Such characteristics of decadent writing as the threat of catastrophe, fundamental changes in society, nostalgia can be found in the analysed novel.François, the main character of the novel, an expert on Huysmans and a professor at Sorbonne University, supports Huysmans’ ideas to some extent trying to find the link between the end of the 19th century and the beginning of the 21st century by comparing processes in society. Huysmans sought an ideal in the Middle Ages, while François travels to Rocamadour, famous for the statue of the Black Madonna, with a hope to find a spiritual revelation but becomes aware that the world of the past has gone forever. Changes in society made Huysmans leave the monastery, similarly, François gets frustrated as he loses his job when the Muslim Fraternity comes into power.Using the dystopian genre, Houellebecq depicts unbelievable changes in society – the new government proclaims Islam an official religion of France. Society is governed by new rules, the authority is concerned about two things – demography and education. Those, who refuse to convert to Islam, lose their jobs. Changes in society are even linked with geopolitical changes. Meanwhile Houellebecq reveals significant differences between the decadence of the end of the 19th and of the 21st century. Huysmans’ decadence results in neuroses, a desire to seal himself off from the world in alcohol, drugs, etc., to surround himself with works of art, while François in Submission enjoys erotic pleasures, gradually becomes an alcoholic, he does not suffer like Huysmans’ protagonist Des Esseintes. It can be stated that Submission is a decadent novel only at thematic level since aesthetic values, characteristic of the decadence of the 19th century, are left in the background. The only justification of François is that he speaks about his conversion to Islam hypothetically, it shows that he has not made up his mind to take this step.
45
Pos, Arie. "A Stranger's Testimony: Some of Jan Huygen van Linschoten's Views on and from Goa Compared with Portuguese Sources." Itinerario 28, no. 2 (July 2004): 117–34. http://dx.doi.org/10.1017/s0165115300019495.
Full textAbstract:
Remarkably little is known about Jan Huygen van Linschoten's private life in the Portuguese Indies. The only available source material consists of a letter to his parents he wrote in 1584, shortly after his arrival in Goa, and the text of his Itinerario. Working as a secretary to the Archbishop of Goa he must at least have given the impression of being a respectable man in everyday life. Although he was still a young man in the period of his residence in Goa from September 1583 to November 1588; born at the end of 1562 or at the beginning of 1563 he must have been nearly twenty-one when he arrived and nearly twenty-five when he left and although he dwells quite extensively on various cases of adultery and especially on the moral character of Indian and Portuguese women in Goa, he never even hints at personal amorous experiences. We may take this as a sign of the times in which he lived. Indeed there was a strong moral code in sixteenth-century Europe, at least in theory and especially from what may be termed the lower middle class upwards, and apart from this mostly religiously based and socially sanctioned moral code there were literary conventions. Debauchery and erotic adventures were dealt with mainly in pornographic or diary-like texts that certainly were not the genre of Linschoten's Itinerario. But as the morally judging observer he presents himself to be, he could of course describe more or less spicy details and comment on them. Linschoten played this part several times and as it would seem quite eagerly. As a matter of fact his moral views are accorded considerable importance in the book. A first and most interesting attempt to analyse these views in relation to the stamps published with the Itinerario was made by Ernst van den Boogaart. To accompany an exhibition of the stamps, the same author published a more extensive analysis of the stamps and of the Latin texts of a separate edition in Het verheven en uerdoruen Azië. Both titles are good reading on the subject.
46
Wagner, Peter. "TRIAL REPORTS AS A GENRE OF EIGHTEENTH-CENTURY EROTICA." Journal for Eighteenth-Century Studies 5, no. 1 (October 1, 2008): 117–21. http://dx.doi.org/10.1111/j.1754-0208.1982.tb00462.x.
Full text
47
Hansen, Kai Arne, and Stan Hawkins. "Azealia Banks: ‘Chasing Time’, erotics, and body politics." Popular Music 37, no. 2 (April 13, 2018): 157–74. http://dx.doi.org/10.1017/s0261143018000053.
Full textAbstract:
AbstractDuring the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, ‘Chasing Time’ (2014), offering up various perspectives that probe into queer agency. It is suggested that techniques of sonic styling necessitate a consideration of subjectivity alongside genre and style. Employing audiovisual methods of analysis, we reflect on the relationship between gendered subjectivity and modalities of queerness as a means for demonstrating how aesthetics are staged and aligned to advanced techniques of production. It is argued that the phenomenon of eroticised agency, through hyperembodied display, is central to understanding body politics. This article opens a space for problematising issues of black female subjectivity in a genre that is traditionally relegated to the male domain.
48
Wallis, Jonathan. "GHOSTWRITING ELEGY IN PROPERTIUS 4.7." Classical Quarterly 66, no. 2 (July 20, 2016): 556–72. http://dx.doi.org/10.1017/s0009838816000410.
Full textAbstract:
Propertian elegy is not an obstinately male genre. It is engendered as masculine in its discursive mastery over the female object of its erotics and poetics, but engenders itself as effeminate in its association with softness, submissiveness, and impotence, and as feminine especially in its self-critique and its interrogation of Roman gender and sexuality.M. Wyke, The Roman Mistress (Oxford, 2002), 189
49
Marciano, Gabriele. "La pornografia tra il mercato e la politica." PSICOBIETTIVO, no. 2 (June 2021): 169–80. http://dx.doi.org/10.3280/psob2021-002013.
Full textAbstract:
Le immagini erotiche costituiscono uno stimolo particolarmente efficace nel suscitare interesse. Fanno parte di una categoria più vasta di espedienti per attirare l'attenzione su qualcuno o qualcosa, e si prestano ad un uso strumentale nella pubblicità e nella promozione. Nella specie umana il sesso diventa, per motivi evoluzionistici che sono brevemente indagati, un modulo funzionale di processi più complessi. Ciò spiega come diventi componente inestricabile di altri piani esistenziali e rende ragione, al netto di variabili culturali, di una differenza di genere nella fruizione del materiale pornografico. Tale complessità è osservabile nei film, dove il contenuto erotico può assumere un rilievo e una posizione diversa in relazione allo sfondo complessivo: per chiarire queste dinamiche sono prese in esame alcune pellicole accomunate da una fantasia cosiddetta slap and kiss, che afferisce alla categoria sado-maso. Il carattere della pornografia attuale è condizionato dai mezzi di produzione e di diffusione, da una parte, e dai tentativi di annullamento relativistico dei canoni, ad opera di movimenti ideologici, dall'altra. Ciò limita e appiattisce l'offerta pornografica che, nei decenni passati, sia nel cinema che nel fumetto, nonostante una limitata ambizione, aveva dato vita a prodotti più interessanti ed espressivamente liberi.
50
Wlodarz, Joe. "Maximum Insecurity: Genre Trouble and Closet Erotics in and out of HBO's Oz." Camera Obscura: Feminism, Culture, and Media Studies 20, no. 1 (2005): 59–105. http://dx.doi.org/10.1215/02705346-20-1_58-59.
Full text