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Journal articles on the topic 'Erotic writing'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Syauqani, Syamsu. "Pornografi dan Pornoaksi: Perspektif Agama dan Kesehatan Mental." Ulumuna 10, no. 2 (November 5, 2017): 285–302. http://dx.doi.org/10.20414/ujis.v10i2.455.

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Discussing about pornography and erotic actions is mostly about the debate among religious defenders, cultural practitioners and activists of human rights. This is due to the fact that the three parties have their own point of views in perceiving the constitution of pornography and erotic actions. They have different perception especially from religion’s point of view. This writing—with no intention to interfere the debate—tries to understand pornography and erotic actions from religion and mental health. Religion in this context is not meant as the complicated or liberal term but rather on the normative-theological doctrine which intents to give both physical and mental healthy life. Islam claims to have a teaching which leads to mental health by forbidding immoral deeds such as pornography and erotic actions. Therefore, to support the religion perception on pornography and erotic actions, this writing reveals that pornography and erotic actions as ‘mental sickness’.

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2

Kukka, Silja. ""Fandom's Pornographic Subset"." lambda nordica 26, no. 1 (July 5, 2021): 53–79. http://dx.doi.org/10.34041/ln.v26.721.

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This article draws on content analysis method research (n = 78) that looks at a specific subset of fan fiction: anonymous kink meme communities where mostly women request and write erotic or pornographic fan texts. Reporting on an online survey, this article discusses what kind of role kink meme communities play in the lives of the respondents, how kink meme stories are situated in the larger framework of pornography, and how the respondents view the stories that incorporate unsettling or taboo subjects, such as sexual abuse of children, rape, or incest. This article views kink meme communities as a special subset of fan fic- tion, and in the article kink meme writing is compared to other forms of female- centric erotica or pornography. The article outlines how kink meme communities, like many other female-centric online communities, can function as places where women and gender minorities can write erotic material that better resonates with them and discuss and explore their sexualities and sexual preferences. Kink meme communities are also shown to utilise queer female writing practices in how they discuss and broaden the cultural view on female sexuality and women’s enjoyment of pornographic material. In addition to this, kink memes are also shown to function as literary communities where some fans can practise their writing.

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3

Bak, Greg, and Ian Frederick Moulton. "Before Pornography: Erotic Writing in Early Modern England." Sixteenth Century Journal 33, no. 1 (2002): 281. http://dx.doi.org/10.2307/4144303.

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4

Moulton (book author), Ian Frederick, and Michael Morgan Holmes (review author). "Before Pornography: Erotic Writing in Early Modern England." Renaissance and Reformation 37, no. 2 (January 1, 2001): 98–100. http://dx.doi.org/10.33137/rr.v37i2.8703.

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5

Best, Victoria, Alex Hughes, and Kate Ince. "French Erotic Fiction: Women's Desiring Writing, 1880-1990." Modern Language Review 92, no. 4 (October 1997): 983. http://dx.doi.org/10.2307/3734263.

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6

Muller-Sievers, Helmut. "Writing off: Goethe and the Meantime of Erotic Poetry." MLN 108, no. 3 (April 1993): 427. http://dx.doi.org/10.2307/2904754.

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7

Waters, Claire M. "Erotic Discourse and Early English Religious Writing. Lara Farina." Speculum 84, no. 1 (January 2009): 143–45. http://dx.doi.org/10.1017/s0038713400021102.

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8

Wang, Richard G. "PRACTICING EROTIC FICTION AND ROMANTICIZING LATE-MING WRITING PRACTICE." Ming Studies 2000, no. 1 (January 2000): 78–106. http://dx.doi.org/10.1179/014703700788763180.

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9

Rhodes, N. "Review: Before Pornography: Erotic Writing in Early Modern England." Notes and Queries 49, no. 3 (September 1, 2002): 415–16. http://dx.doi.org/10.1093/nq/49.3.415.

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10

Rhodes, Neil. "Review: Before Pornography: Erotic Writing in Early Modern England." Notes and Queries 49, no. 3 (September 1, 2002): 415–16. http://dx.doi.org/10.1093/nq/490415.

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11

Fisher, William. "Before Pornography: Erotic Writing in Early Modern England (review)." Shakespeare Quarterly 53, no. 4 (2002): 581–84. http://dx.doi.org/10.1353/shq.2003.0024.

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12

Harvey, Karen. "Before Pornography: Erotic Writing in Early Modern England (review)." Journal of the History of Sexuality 11, no. 3 (2002): 521–24. http://dx.doi.org/10.1353/sex.2003.0016.

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13

Ramalho, Maria Irene. "Writing and Merriment. Gertrude Stein’s Erotics of Language." Elyra, no. 16 (2020): 13–22. http://dx.doi.org/10.21747/21828954/ely16a1.

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As it revisits Gertrude Stein’s relationship with Alice B. Toklas – lifetime companion, collaborator, and lover – the paper shows how Stein’s writing is at the forefront of Modernism’s poetic innovation by dismantling grammar and syntax, calling into question the referentiality of language, and dealing with words as if they were sensuous objects. It concludes that Stein’s creative writing is as erotic as her love life.

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14

Gunn, Cate. "Erotic Discourse and Early English Religious Writing (review)." Studies in the Age of Chaucer 30, no. 1 (2008): 355–58. http://dx.doi.org/10.1353/sac.0.0029.

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15

Buszek, Maria Elena. "Mirror, Mirror: Joanna Frueh as Fairy Stepmother." TDR/The Drama Review 55, no. 2 (June 2011): 104–13. http://dx.doi.org/10.1162/dram_a_00073.

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For over 20 years, scholar and performance artist Joanna Frueh has been a pioneering force in feminist art and criticism. In homage to Frueh's “erotic scholarship,” Frueh's own writing and performances concerning relationships between women are interwoven with a biographical history of the author and the artist's own student/teacher relationship.

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16

Cairns, Christopher. "Before Pornography: Erotic Writing in Early Modern England - By Ian Frederick Moulton." Renaissance Studies 21, no. 2 (April 2007): 288–89. http://dx.doi.org/10.1111/j.1477-4658.2007.00350.x.

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17

Cairns, Lucille. "Le Phallus Lesbien (Bis): Lesbo-Erotic French Writing of the Late 1990s." Nottingham French Studies 41, no. 1 (March 2002): 89–101. http://dx.doi.org/10.3366/nfs.2002.010.

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18

Holmes, Diana. "Bad Sex/Good Sex: Nancy Huston and the Boundaries of Erotic Writing." L'Esprit Créateur 59, no. 3 (2019): 60–72. http://dx.doi.org/10.1353/esp.2019.0032.

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19

Flaschenriem, Barbara. "Loss, Desire, and Writing in Propertius 1.19 and 2.15." Classical Antiquity 16, no. 2 (October 1, 1997): 259–77. http://dx.doi.org/10.2307/25011065.

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Elegies 1.19 and 2.15 combine the motifs of loss, desire, and writing in complex ways. In each poem, the speaker's attempt to recapture the past-to possess his beloved by writing about her-leads him to confront the imperatives of time and the limits of his own poetic art. Furthermore, because Cynthia is so closely identified with Propertius' project as an elegiac poet, she becomes a focus of literary as well as erotic unease. In poem 1.19, the narrator's anxiety about Cynthia's fidelity discloses a deeper anxiety about the reception of his poetry, and about the ability of a text to represent its author faithfully once it enters the public domain. In contrast to 1.19, elegy 2.15 seems initially to resist the prospect of change and loss. In the first ten lines of the poem, the narrator affirms a kind of mastery over time and his beloved, re-creating a scene of pleasure from the past, and presenting Cynthia's unclothed body as the object of his and the reader's amorous gaze. Yet Cynthia's active role in the scene-the evidence of "her" desire-leads to the dissolution of the amatory tableau. Cynthia brings elements of narrative into the erotic spectacle created by the poet-lover; as in poem 1.19, she is associated with forces which threaten the text's stability or closure. In both elegies, however, the poet's fictive encounters with loss are productive as well as unsettling. Such fictions permit him to view both love affair and poetic project retrospectively, and to evaluate their significance. They give expression to literary anxieties, but also allow these anxieties to be explored and partially mastered. Finally, they offer a way of thinking about the limits of love, of representation, and of a writer's control over his text.

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20

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.

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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?

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21

Ben-Naftali, Michal. "‘I Have an Empty Head on Love’: The Theme of Love in Derrida, or Derrida and the Literary Space." Oxford Literary Review 40, no. 2 (December 2018): 221–37. http://dx.doi.org/10.3366/olr.2018.0253.

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The essay examines several scenes of love in deconstruction, in an attempt to understand why Derrida claims to have ‘an empty head on love in general’, as he says in a film dedicated to his work. Beginning with ‘Romeo and Juliet’ up to Abraham's sacrificial responsibility, the essay aims to interpret Derrida's withdrawal to silence about love as enacting the erotic literary space of his own writing.

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22

Wood, Sarah. "Some thing, some one, some ghost (about the fires of writing)." Derrida Today 5, no. 2 (November 2012): 165–79. http://dx.doi.org/10.3366/drt.2012.0038.

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This essay addresses the relation between ghosts and the fires of writing. It allows itself to dream of purely burning, of consuming and leaving behind all objects, topics and occasions in an absolutely concrete, singular, sensational experience of reading. It is written to and for ghosts – the only ones who can survive in the blazing building that writing can become. The ghosts live in burning house scenes, in poems about dream rooms and erotic hauntings, and in the intellectual tension of literary and non-literary texts. They have something to do with the fires of sexuality, and the intensities of sublimation. It is all about love and death.

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23

Dean, Tim. "Sex and the Aesthetics of Existence." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 387–92. http://dx.doi.org/10.1632/pmla.2010.125.2.387.

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Leo Bersani's contributions to Queer Theory have been essentially traumatic. Ever since “Is the Rectum a Grave?,” with its startling opening sentence (“There is a big secret about sex: most people don't like it” [197]), Bersani's writing on sexuality has disrupted the conceptual coordinates of queer theory, a field that officially welcomes the disruptive. What has made Bersani hard to assimilate is less his psychoanalytic emphasis on the ineluctable masochism of sexuality (a principal reason for the aversion to sex) than his insistent conceptualization of sexuality in aesthetic terms. Although his work has never shied from the rebarbative aspects of erotic life, it is, in fact, Bersani's speculations about relationality as irreducibly aesthetic that have proved tougher for the field of queer theory to countenance. (Queer theorists take sexual variance in stride; we have a harder time dealing with art.) It is not merely that Bersani draws examples from literature, painting, sculpture, and cinema when discussing erotic relationality. More fundamentally, his earlier work claimed that art has effects on the human subject akin to those of sexuality, while his later writing proposes a specifically aesthetic subjectivity—rather than the sexual kind—as the preferred basis for relating to the world beyond the self.

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24

Thapa, Dharma. "The Politics of Eroticism: Political Writing and Arundhati Roy's The God of Small Things." Crossing the Border: International Journal of Interdisciplinary Studies 1, no. 1 (May 23, 2014): 51–58. http://dx.doi.org/10.3126/ctbijis.v1i1.10468.

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This article analyses the erotic relationships between sexes depicted in Arundhati Roy’s novel The God of Small things in the binary opposition: those based on bourgeois patriarchal dominance and that based on equality and mutual respect. It focuses on the relationship between Ammu and Velutha as love, in diametrical contrast with the former pattern, based on independent choices and guided and inspired by radical politics. DOI: http://dx.doi.org/10.3126/ctbijis.v1i1.10468 Crossing the Border: International Journal of Interdisciplinary Studies Vol.1(1) 2013; 51-58

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25

Martindale, Kathleen, and Martha Saunders. "Realizing Love and Justice: Lesbian Ethics in the Upper and Lower Case." Hypatia 7, no. 4 (1992): 148–71. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00723.x.

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This essay examines two tendencies in lesbian ethics as differing visions of community, as well as contrasting views of the relationship between the erotic and the ethical. In addition to considering those authors who make explicit claims about lesbian ethics, this paper reflects on the works of some lesbians whose works are less frequently attended to in discussions about lesbian ethics, including lesbians writing from the perspectives of theology and of literature.

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26

Lischinsky, Alon. "Doing the naughty or having it done to you? Agent roles in erotic writing." Porn Studies 5, no. 2 (June 28, 2017): 156–74. http://dx.doi.org/10.1080/23268743.2017.1301215.

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27

Hamer, Magda. "SUBJECTIVITY, CREATIVE ACT AND EROS OF WOMEN: "THE ESSENCE" COMIC AND SELECTED FEMINIST THEORIES." Kultura Popularna 60, no. 2 (January 31, 2020): 60–70. http://dx.doi.org/10.5604/01.3001.0013.7334.

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Starting from the modern interpretation of the theories: parler femme by Luce Irigaray (adopting a speaking position that will enable woman/women to articulate their own sexuality, speak with their own voice) and écriture feminine by Hélène Cixous (a text freed by writing a female desire that carries the potential of revolutionary transformations) I come to the theory of the nomadic subject by Rosi Braidotti (the central categories are movement, changeability and the endless process of shaping the subject). I ask questions about the possibilities and limitations of finding or building a female identity and subject through creativity, empowering women in the domain of images related to sexuality, and the right to talk about their desires as creating their own place in the space of culture. As an example of creative acts building subjectivity, I present an erotic comic "Being" which is the first collective work on Polish soil that is supposed to express erotic fantasies from the perspective of women.

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28

Birgisdóttir, Soffía Auður. "„Tilfinningar eru eldsneyti fyrir hugmyndir“. Um skáldskaparheim Elísabetar Kristínar Jökulsdóttur." Kynbundið ofbeldi II 19, no. 1 (June 14, 2019): 223–54. http://dx.doi.org/10.33112/ritid.19.1.13.

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This article deals with the authorship of Elísabet Kristín Jökulsdóttir, with special emphasis on the autofictional novel Heilræði lásasmiðsins (The locksmith’s advice), as well as other works that are based on autobiographical material. Elísabet writes a lot about the female body, its desires and erotic longings, as well as how helpless and weak it can be in particular situations. Her writing on the self, body and sexuality centres on the opposition between love and rejection. The desire for love is the driving force behind her writing and a deep and ruthless self-examination is at work in her fictional world. This desire is closely connected to the female body and sexual drive and Elísabet scrutinizes the nature of ‚femininity‘ and asks what it means to be ,a woman‘. Elísabet describes the female body in all its nakedness and vulnerability and shows how the body is the battleground where the main conflicts between self and others take place. Elísabet frequently describes two oppositional worlds in her works. There are conflicts between the magical world and reality, the father and the mother, the child and the grown-up, psychological difficulties and ‚sanity‘. a divided self is a persistent theme in her writings, as well as the struggle to remain on the right side of the „borders“, which are frequently mentioned. Elísabet’s writings reveal a struggle for marking a place for oneself in the world, to be heard and seen, to be able to createand recreate the self and through her writing, she copes with existence and difficulties that are rooted in childhood. Through writing, she finds a way out and the writing process serves as self-analysis and therapy. In her works Elísabet also creates her own personal mythology, which she connects with women’s struggle for self-realization, freedom and social space. The analysis of Elísabet’s works is inspired by the writings of feminist scholars, such as Simone de Beauvoir, Kate millett and Hélène Cixous.

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29

Wyngaard, Amy S. "The Fetish in/as Text: Rétif de la Bretonne and the Development of Modern Sexual Science and French Literary Studies, 1887–1934." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 662–86. http://dx.doi.org/10.1632/003081206x142814.

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This essay examines the role of Rétif's writings in the development of the concept of erotic fetishism and in the formation of the French literary canon in the late nineteenth and early twentieth centuries. Rétif explored foot and shoe fetishisms more than a century before the phenomena were medically recognized, anticipating the modern psychosexual use of the term fetishism and making important contributions to the invention of the theoretical concept. Rétif's works were accorded a privileged place in early pathologies of fetishism, which provoked a series of polemics among German and French medical doctors and literary scholars centered on notions of national supremacy and literary value. Marked as bad literature, in both senses of the term, Rétif's writing was subsequently excluded from the French literary canon on moral grounds and became a kind of fetish object in the French literary corpus. (ASW)

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30

KRIESEL, JAMES C. "THE MARVELOUS BETWEEN DANTE AND BOCCACCIO." Traditio 73 (2018): 213–54. http://dx.doi.org/10.1017/tdo.2018.7.

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In the late Middle Ages, authors of fiction, historical texts, and travel narratives discussed issues related to the places and spaces of marvels. Writers debated whether local, western occurrences could be as wondrous — and thus worthy of being recorded in writing — as foreign, eastern phenomena. This article explores how Boccaccio's engagement with Dante was intertwined with evolving views of the marvelous. It proposes that Boccaccio, following Dante, likened his writings to natural marvels to defend the status of literature, a mode of discourse sometimes considered unnatural or fraudulent. In addition, this research examines how Boccaccio drew on marvels to highlight differences between the properties and ethics of Dante'sComedyand these aspects of hisDecameron. In addressing these topics, Boccaccio was inspired by late medieval Latin historians, who foregrounded the novelty of their texts by self-consciously writing about western marvels. In theDecameron,Boccaccio recalled ideas about local marvels to champion the dignity of his erotic, mundane stories in comparison to Dante's otherworldly, divine poem. Boccaccio thus also reminded readers not only to wonder about future, eternal matters, but to cherish the experiences of this our present life.

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31

Argañaraz, Eugenia. "“Writing is erotic. It is the stroke that triggers desire”. An interview with Tununa Mercado." Anclajes 22, no. 2 (May 1, 2018): 115–27. http://dx.doi.org/10.19137/anclajes-2018-2228.

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32

Morgan, J. "Review. Writing sex. Foucault's virginity. Ancient erotic fiction and the history of sexuality. S Goldhill." Classical Review 46, no. 2 (February 1, 1996): 263–64. http://dx.doi.org/10.1093/cr/46.2.263.

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33

Maver, Igor. "Jože Žohar, a Slovene migrant poet from Australia." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 113–17. http://dx.doi.org/10.4312/an.38.1-2.113-117.

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Jože Žohar migrated »dawn under« to Australia in 1968 and struggles to pacify inside him the two homelands, Slovenia and Australia. In his three published collections of verse in the Slovene language (1990, 1995, 2004) the poet remains torn between the two countries, between Eros and Thanatos, between a unique erotic experiencing of the homeland and the wish for physical and spiritual ending and closeness of death, which brings deliverance. The article tries to contextualize his recently published book ofverse Obiranje limon (2004) within recent theories of diasporic writing.

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34

Keramida, Despina. "The Re-Imagination of a Letter-Writer and the De-Construction of an Ovidian Rape Narrative at Ars Amatoria 1.527-64." Classica et Mediaevalia 67 (January 3, 2019): 153–87. http://dx.doi.org/10.7146/classicaetmediaevalia.v67i0.111771.

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Ovid’s writing is infused with the retelling of known myths and the portrayal of heroes and heroines, whose figurae held a central role in Greek and Roman literature. This article argues in favour of reading Ariadne’s story at Ars am. 1.527-64 as a rape narrative. The exploration of the passage in question and its comparative reading with other poems (such as Prop. 1.3 and the Ovidian version of the rape of the Sabine women), illustrates and explains why Ovid reimagines Ariadne as a victim of erotic violence.

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35

Cooke, Claire. "Converting Racism." Social Sciences and Missions 31, no. 1-2 (May 1, 2018): 163–88. http://dx.doi.org/10.1163/18748945-03101002.

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Abstract African American Charlotte Wright’s book Beneath the Southern Cross: The Story of an American Bishop’s Wife in South Africa (1955) is a unique text. This article uses a womanist theological framework, situated within studies of African American women and religion, to acknowledge that the experiences and writing of Wright must be considered in terms of race, gender, class, and theological influences. By considering these four factors in conjunction it is argued that despite the conservative nature of Wright’s text she subtly, but radically, challenged the erotic gaze and derogatory racial stereotypes of African American inferiority.

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Kriesel, James C. "Boccaccio and the Early Modern Reception of Tragedy." Renaissance Quarterly 69, no. 2 (2016): 415–48. http://dx.doi.org/10.1086/687606.

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AbstractFourteenth-century Italian humanists discussed the properties of tragedy while considering the value of Latin versus vernacular literature. Boccaccio was interested in these discussions because humanists were promoting classicizing tragic and epic literatures at the expense of vernacular writing. This article explores Boccaccio’s role in these debates by examining the tragic stories of the Decameron. It suggests that Boccaccio highlighted the virtues of his erotic tales by contrasting them to the tragic stories of day 4, a strategy inspired by Ovid’s elegiac poems. Boccaccio thus underscored the dignity of his low, Ovidian-inspired Decameron, and counterbalanced humanist fascination with high tragic-epic literatures.

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37

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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Naved, Shad. "Teaching Indo-Islamic poetry: Sexuality in the global classroom." Thesis Eleven 162, no. 1 (February 2021): 46–61. http://dx.doi.org/10.1177/0725513621990989.

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The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms ‘Indo-Islamic’. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major ‘national’ languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times.

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39

Yi, Zhang. "Love/Erotic Life Writing: Those Latest Theories of Interna-tional Susan Sontag Studies and Creational Performing." Progress in Social Sciences 2, no. 5 (2020): 211–43. http://dx.doi.org/10.35534/pss.0205022.

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40

Shearer, Joanna. "Lara Farina, Erotic Discourse and Early English Religious Writing. (The New Middle Ages.) Palgrave Macmillan, 2006." Medieval Feminist Forum 44, no. 1 (June 2008): 126–29. http://dx.doi.org/10.17077/1536-8742.1723.

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41

Siepak, Julia. "Two-Spirit Identities in Canada: Mapping Sovereign Erotic in Joshua Whitehead’s Jonny Appleseed." Studia Anglica Posnaniensia 55, s2 (December 1, 2020): 495–515. http://dx.doi.org/10.2478/stap-2020-0024.

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Abstract In colonial times, mapping the New World functioned as an inherent mechanism of exerting colonial domination over Indigenous lands, enacting settler presence on these territories. While the colonial cartographies projected ownership, the non-normative mappings emerging from Aboriginal writing provide an alternative to settler Canadian geography. This article focuses on the imaginative geographies depicted in Joshua Whitehead’s Jonny Appleseed (2018), which recounts the story of a young Two-Spirit man who searches for his identity in-between the reserve and the city. The objective of the analysis is to tie the representation of the contemporary queer Indigenous condition with the alternative mappings emerging from Whitehead’s novel. In order to address the contemporary Two-Spirit condition in Canada, the article applies current theories proposed by the field of queer Indigenous studies, including the concept of sovereign erotic, which further allows the presentation of the potential of Two-Spirit bodies to transgress colonial cartographies.

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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.

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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.

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Diamant, Cristina. "Hermia and the Dark Lady: From Perceived Others to Potential Erotic Objects." Linguaculture 2017, no. 2 (December 20, 2017): 85–105. http://dx.doi.org/10.1515/lincu-2017-0020.

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Abstract The present paper is focused on the figures of the Dark Lady of the sonnets and Hermia from A Midsummer Night‟s Dream as modes of writing against the Petrarchian ideal. The former is the most explicit of Shakespeare‘s suite of “dark ladies” (which includes Anne, Kate, Hero, Phoebe, Cleopatra, and Rosaline), while the latter is arguably his least individualised character, yet one that has benefitted from more public attention than most thanks to the generous circulation, continuous adaptation and re-contextualisation of the text. Two useful concepts for the discussion I propose are what Mikhail Bakhtin terms “re-accentuation” and “heteroglossia” as these texts allow different voices to dispute the place and worth of a dark-skinned woman, yet it is precisely by creating a space to voice them all that it creates a possibility to shake up the aesthetic, as well as the literary canon. The ontological status of the Dark Lady and Hermia is also of interest, so that a linguistic and stylistic analysis is carried out in order to highlight how conflicting ideologies attempt to appropriate their image, namely the hegemonic versus the inclusive understandings of what James Hughes calls the “personhood-based theory”. The revolutionary aspect brought to the table by Shakespeare is his choice for a transition from the hegemonic perspective to one which judges the two “dark ladies” on their own terms.

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Silva, Claudicélio Rodrigues da. "Espelho de Narciso ou de Oxum? A poesia erótica negro-brasileira antologizada." Elyra, no. 16 (2020): 89–105. http://dx.doi.org/10.21747/21828954/ely16a6.

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This article discusses the representation of sexuality and eroticism in the poetry made by black Brazilian writers, having the anthology Pretumel de chama e gozo (2015), organized by Cuti and Akins Kintê, as its subject of study. What’s the point of producing a black erotic writing when the conservative and excludent political environment demands from black activism the fight for racial equality and black people’s insertion in several social instances? Isn’t eroticism in the service of violence and sexual exploitation of black bodies? How is it possible to think about a different kind of eroticism, that mitigates the stigma inherited from a slave society? The discussion undertaken here wants to point to investigative routes in black authorship eroticism more than answer the questions above.

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Nutu, Liliana. "THE SEDUCTION OF WORDS AND FLESH AND THE DESIRE OF GOD: A POSTSTRUCTURALIST READING OF JOHN 1:1, 14 AND THE PILLOW BOOK." Biblical Interpretation 11, no. 1 (2003): 79–97. http://dx.doi.org/10.1163/15685150360495589.

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This paper looks at John 1:1, 14 and Peter Greenaway's film The Pillow Book with the intention of reading afresh the Incarnation of the Word in the former and the Inscription of the Flesh in the latter, while focusing on the seduction of word(s) and flesh, the dynamics of speech and writing, and the desire of God, through poststructuralist theory. It investigates the relationship between text and image, and text, image, and reader, and it exposes the ocular-erotic character of reading. Connected to one of the most valuable collections of writings in Japanese literature, namely The Pillow Book of Sei Shonagon , Greenaway's film treats the 'delights of the flesh and the delights of literature' as indistinguishable from each other. This paper defends the idea that the Incarnation exposes the reciprocity of desire of God: God desires our flesh as much as we desire his Word; and it identifies the Incarnation as the hymen which both unites and separates the human and the divine, the immanent and the transcendent, the flesh and the word, the audience and the book, this world and the other, foreplay and orgasm.

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Castronovo, Russ. "Ayn Rand’s Vibrator: Masochism as Conservative Style." boundary 2 46, no. 4 (November 1, 2019): 1–29. http://dx.doi.org/10.1215/01903659-7859117.

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By treating conservatism as a style of thought, this essay examines how a flair for abjuring the social contract, social welfare, socialism, indeed, society itself provides pleasure from the pain of violation and lost autonomy. The innovation of Ayn Rand’s writing is to make this victimization sexy. For the Randian conservative who feels abused by the social welfare schemes of the liberal state, masochism restores autonomy by making the individual the sole author of his or her pain. Masochism allows Rand’s readers to wring intense satisfaction from feelings of vulnerability that notions of consent force on individuals. Rand’s penchant for imagining a literally libidinal economy hardly defines the tastes of conservatism tout court. Nevertheless, the masochistic erotic formations in her novels constitute a defining feature of an ideology that views government as a pain.

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Azam, Hina. "The Hij?b at Cross-Purposes: Conflicting Models of the Erotic in Popular Islamic Advice Literature." Comparative Islamic Studies 5, no. 1 (July 10, 2011): 131–76. http://dx.doi.org/10.1558/cis.v5i1.131.

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An examination of popular advice literature geared toward Muslims living in the West, such as the type commonly available in U.S. mosques and at online Islamic bookstores, indicates that there exist at least two potentially conflicting narratives regarding the ?ij?b (the veil or headcovering) as a pious practice. The first narrative presents female sexuality as a natural and positive force, as long as it is properly channeled. The ?ij?b, in this narrative, is not meant to categorically repress women’s erotic nature, but is a pragmatic social practice meant to avoid eroticism in the public sphere, where it would be a source of temptation and disorder. Often corresponding to this narrative is a notion of (female) sexuality as constant, and an ideology that deemphasizes gender differences. A second narrative presents erotic desire and fulfillment as a marker of attachment to the world and an assertion of the ego-self (nafs), and therefore negative, even in the context of marriage. In this view, the ?ij?b is an ascetic practice, a means by which a woman may discipline her self and develop a greater spiritual-moral faculty. This narrative, in many instances, considers sexuality to be malleable, and also tends to be paired with an emphasis on sexual difference. This paper seeks to tease out the conflicting models of the erotic that emerge in this genre of writing. It further suggests that deviations from a text’s core narrative and appeal to the opposing narrative betrays a lack of commitment to either a particular narrative of veiling or a particular model of eroticism. Rather, such deviations suggest an instrumental use of these narratives and models in favor of the predetermined conclusion, which is the injunction to veil, and to which end both models of eroticism and both narratives of veiling are bent. A final objective is to show, by drawing on ethnographic research, that the conflicting models of eroticism found in popular advice literature are mirrored in the thinking of the contemporary Western Muslim women who are the intended readers of this literature, and to reflect upon the possible consequences of this theoretical conflict upon Western Muslim readership.

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Veisland, Jørgen. "Eros and Ethics in Martin A. Hansen’s Novel The Liar." Interlitteraria 23, no. 1 (August 5, 2018): 100–109. http://dx.doi.org/10.12697/il.2018.23.1.11.

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Seduction plays a dual role in Martin A. Hansen’s novel The Liar. Johannes Vig, the narrator/protagonist is prone to repeat a pattern of triangular erotic relationships while at the same time engaging in literary seduction. He hides and reveals the truth through a rhetoric of fiction that carries Kierkegaardian overtones. Johannes who is both teacher and preacher on an island off the mainland at some points approximates the Kierkegaardian category of the demonic, being afraid of opening up. Johannes is suffering from a Freudian compulsion to repeat threatening to bar him from the ethical metamorphosis that would absolve him. The repetitiveness of his sexuality paradoxically spurs on a search for truth and ethics as Johannes distances himself from the past in an attempt to transcend the barriers of dualism implicit in the past-present dichotomy. Fictional seduction and rhetorical persuasion become ways of approximating the truth. Yet fiction is abandoned in the end in favour of a different form of writing as Johannes realizes that a new writing project is necessary whereby ethics becomes understood as selflessness. This insight paves the way for the recognition of nature as flux and the recognition of truth as something that cannot be pinned down since it is fundamentally unsubstantial, in the Buddhist sense of sunyata.

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Pfister, Manfred. "‘Love Merchandized’." Critical Survey 30, no. 3 (September 1, 2018): 57–66. http://dx.doi.org/10.3167/cs.2018.300305.

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Although analysing Shakespeare’s sonnets in the context of ‘Shakespeare and money’ is not an obvious choice, I believe that Karl Marx’s ‘The Power of Money’ in his Economic and Philosophic Manuscripts are as relevant to the sonnets as they are to plays such as Timon of Athens. My reading of them will foreground their dialogue with terms and developments in early modern banking and focus on metaphors of economic transaction that run through the whole cycle; indeed, a third of them figure love, its wealth and truth, use and abuse, in terms of investment in order to project an alternative economy beyond the self-alienating world of banking/financial gain. This imbrication of the erotic with the economic comprises also the writing of love sonnets, a competitive game-like economic transaction. Soneteering is a way of ‘merchandizing love’ that inevitably casts a capitalist shadow across the supposedly most sincere expression of love.

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Weber, Alison. "Lope de Vega's Rimas sacras: Conversion, Clientage, and the Performance of Masculinity." PMLA/Publications of the Modern Language Association of America 120, no. 2 (March 2005): 404–21. http://dx.doi.org/10.1632/003081205x52400.

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In 1614 Lope de Vega, recently ordained, published the Rimas sacras, a confessional canzoniere replete with allusions to his past promiscuity and recent religious conversion. I argue that Lope addressed his collection not only to a public of anonymous readers but also to a specific, private reader: his patron, the duke of Sessa. For the previous eight years, Lope had served as Sessa's erotic amanuensis, writing love letters and poems for the duke's various mistresses. I propose that the collection as a whole and several sonnets in particular constitute an implicit reproach to Sessa. Through his religious poetry, Lope sought to repudiate his degraded masculine identity as the duke's epistolary pimp (and reputed lover) and affirm his status as a priest who served a more exalted and loving patron. In the Rimas sacras, the discourses of clientage and Petrarchan love are imbricated in the dominant religious discourse, rendering it more available for contestatory practices than is often recognized.

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