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Dissertations / Theses on the topic 'Erotic'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Dubois, Stephanie L. "Examining the Eros in erotica : erotic thoughts, emotion, and sexual experience between genders." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259308.

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The present study examined gender differences in the emotional tone of written sexual fantasies. Participants included 182 heterosexual men and 206 heterosexual women enrolled in undergraduate clinical and counseling courses at a mid-sized Midwestern university. Data collected on each respondent was derived from five sources 1) a written sexual fantasy, 2) the Extended Personal Attributes Questionnaire (EPAQ), 3) Human Sexuality Questionnaire - The Heterosexual Experience Subscale, 4) the Sexual Opinion Survey (SOS), and 5) the Revised Mosher Guilt Inventory. The Dictionary of Affect in Language (DAL) (Whissell, 1999) was used to obtain two quantitative measures, Activation and Evaluation of the emotional tone of the sexual fantasies. The variables of the study were gender role variables (agency and communion) and sex variables (erotophobia-erotophilia, sex experience, sex guilt, Activation and Evaluation). It was hypothesized that men would score higher on agency, sexual experience, erotophilia, and Activation, which is associated with arousal and action, and women would score higher on communion, erotophobia, sex guilt and Evaluation, which is associated with pleasant feelings. Gender differences were found for all variables except sexual experience and the measures of emotion, Activation and Evaluation. Given the stated hypotheses, canonical correlations were performed to determine the linear relationship of gender role and sex variables for men and women. One significant canonical correlation was found for men indicating that as agency, erotophilia, and sexual experience increase, sex guilt decreases. No significant canonical correlation was found for women. A discriminant analysis was performed to determine if the gender role variables and the sex variables were strong discriminators of sex. Results indicated that communion and erotophobia were the best discriminators for men and women. The study's present findings are discussed in terms of the sexual double standard and the changing social values of women in today's society. Limitations of the study and future directions of research in sexual fantasies and gender differences, specifically in terms of application to counseling are discussed.
Department of Counseling Psychology and Guidance Services

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2

Bivona, Jenny M. "Women's erotic rape fantasies." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9118/.

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This study evaluated the rape fantasies of a female undergraduate sample (N = 355) using a sexual fantasy checklist, a sexual fantasy log, a rape fantasy scenario presentation, and measures of personality. Results indicated that 62% of women have had a rape fantasy. For these women, the median rape fantasy frequency was about four times per year, with 14% of participants reporting that they had rape fantasies at least once a week. Further, rape fantasies exist on a continuum between erotic and aversive, with 9% completely aversive, 45% completely erotic, and 46% both erotic and aversive. Women who are more erotophilic, open to fantasy, and higher in self-esteem tended to have more frequent and erotic rape fantasies than other women. The major theories that have been proposed to explain why women have rape fantasies were tested. Results indicated that sexual blame avoidance and ovulation theories were not supported. Openness to sexuality, sexual desirability, and sympathetic activation theories received partial support.

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Bivona, Jenny M. Critelli Joseph W. "Women's erotic rape fantasies." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9118.

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4

Grenley, Devin. "Women’s Empowerment Through The Erotic." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/292.

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First Semester: My thesis project is about showing women’s empowerment through their sexuality and comfort within their bodies own bodies. In our society women’s eroticism is seen as taboo and women are taught to turn away from the exploration of the erotic as a source of power within themselves. The erotic is often confused and misunderstood, it is an emotion and sense of empowerment that has been named by men and used against women. It’s now difficult to recognize that the erotic can even have a sense of empowerment for women, because strong women have been taught through our society to be viewed as dangerous. As Audre Lorde, a feminist writer states, “The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling. In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. For women, this has meant a suppression of the erotic as a considered source of power and information within our lives” (Lorde). A woman’s strength comes from her sexuality. Once women begin to believe in this concept, they will begin to require this deep powerful sensation from all aspects of their lives and will not settle for anything less. Women should embrace their sexuality and use it as a sense of strength, instead of falsely believing that they can only be strong by suppressing this eroticism. My project is based on a collaborative experience with the models about what their sexuality means to them, and how they can show this through a camera. These photographs are meant to be raw and real; they are representations of real women who have chosen to show the viewers their own sexuality in the way in which they see best fits their sexual personality and comfort with their own bodies. The writings from the models on the back of the photographs show their own struggles with their sexuality. It may make the viewers feel uncomfortable, but this is the point. We are working towards being able to live in a society where women can be sexual if they choose to be. This is still a working progress, and having to view photographs that make one uncomfortable, may be the first step in change. Second Semester: Visual Poetic Abstractions: A Close Photographic Rendering of The Female Body: My personal thesis project shifted after first semester ended. Second semester I decided to continue the question of the body, but step away from the cultural views and instead start to dissect the body in it’s natural form. The project is a close examination of the formalist aspects of the body, including a self-evaluation of what the body means to me. This project resulted in a series of close-up photographs that will help the viewer in seeing portions of the body in ways they have not before. Some photographs will even be unrecognizable as to what part of the body the photograph is representing. This is important because it leads the viewer to examine each photograph for what the beauty of the photo entails, and not for their previous cultural understandings of body parts prior to viewing. The idea behind the black and white photographs is so the viewer again dissects the photograph without the context of color – for example skin no longer can be recognized as skin when the color context is taken away from these photographs. Within this project, I have paid specific detail to the poetic formalist view of the body, dissecting different body parts to create awe and wonderment. The photographs are an anatomical view of the body in its most raw and poetic form.

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5

Hunt, Amanda. "Investigating smara : an erotic dialectic." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33290.

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This thesis is an investigation of smara. Smara is a Sanskrit word and means memory and desire. It has no equivalent in the English language and so the attempt to understand smara becomes both a linguistic and an ontological task.
The reader is introduced to the similarities and idiosyncrasies between Western and Indian notions of memory and desire and then invited into the search for the junction between memory and desire in Indian thought.
Analysis of anthropological and philosophical texts as well as a semantic mapping of Kalidasa's masterpiece entitled Sakuntala: The Ring of Recollection, reveals not only the co-existence of memory and desire in smara but also the notion of smara as a process.

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6

Morris, Madeleine. "Journeys into the void : reformulations of eroticism in contemporary fictions." Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/Journeys-Into-The-Void(3c889b92-6515-4b18-8b70-e9860d274f3c).html.

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This collection of short stories and the accompanying critical exegesis interrogates whether eroticism, as defined by Georges Bataille, is possible in contemporary erotic writing. The project employs a Lacanian lens through which to examine the notions of transgression, selfhood, transcendence and language as aspects of Bataillean eroticism. It argues that works in the erotica genre such as 'Fifty Shades of Grey' rely on nostalgia for the transgression of prohibitions that no longer hold moral authority. This project argues, theoretically and creatively, that we must discover and define what constitutes contemporary taboos and prohibitions in mainstream society if we are to formulate new erotic works that explore their transgression.

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7

Pilcher, Katy Elizabeth Mary. "Erotic dancing in night-time leisure venues : a sociological study of erotic dance performers and customers." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/56236/.

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This thesis explores the gender and sexual politics of erotic dance, through an ethnographic investigation of two leisure venues which provide erotic dance entertainment for women audiences in the UK. Using the research techniques of participant observation, qualitative interviews, visual methods, email interviews and internet research, this thesis examines the work roles of women and men dancers, and the interactions of women customers with dancers. In taking both a lesbian leisure venue and a male strip show for analysis, this thesis goes further than previous academic studies which often equate erotic dance with a male clientele base and women performers. The key findings of the thesis are related to three central themes. These are, firstly, the defining of both of the venues as a ‘women-only’ space by customers, and the ways in which this simultaneously both challenges and reproduces heteronormativity. Secondly, findings in both venues point to evidence of an erotic female ‘gaze’ being exercised by women customers. Yet I highlight how this is at times couched in problematic post-feminist conceptions of sexual agency, and further, how some customers articulated a critique of ‘gazing’ as objectifying erotic dancers. I argue that male dancers do not take on a ‘sex object’ role, and suggest that women dancers are able to exercise a gaze directed at women customers in some instances. The third key finding, evident in dancers’ accounts of their working experiences, suggests that their work practices are in many ways similar to concepts of work that are used to discuss service sector labour. I argue that the particular spaces in which dancers work is crucial to their capacity to exercise autonomy in their work role. Overall, the thesis develops a more complex analysis of participants’ engagement with erotic dance venues, highlighting the tensions around exercising agency in commercial sexual encounters.

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8

Kanellou, M. "Erotic epigram : a study of motifs." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1387206/.

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My thesis forms the first book-length project to examine together Greek epigrams which date from the Hellenistic to the early Byzantine period within larger hermeneutic frames. It examines the life-cycle of four motifs, especially within the erotic subgenre, in order to reassess the genre’s inter-/ intra-generic dynamics and the factors that influenced its development through the centuries. The first chapter is devoted to epigrams where the lamp takes on various roles. Through their detailed analysis a fundamental narrative technique of the whole subgenre is disclosed: objects are employed to portray emotions. I also uncover the seriocomic tone of these poems. Their seriousness derives from the exploration of emotions in a plausible manner. However, the lover’s reaction can be judged as humorous by a detached reader. In the second chapter, I study epigrams that employ sea/ nautical metaphors in order to explore the intra-generic and intra-textual dynamics in the use of metaphorical language within the subgenre: the epigrammatists use metaphors to approach a topic from a variety of angles, while simultaneously securing narrative economy because metaphors can create multiple associations. Moreover, I explore through these metaphors the complex intra-generic dynamics of poetic rivalry and imitation. In the third chapter, I shed light on the development of the motif of the comparison of a woman with Aphrodite. I exemplify how a set of intra-generic, chronological, religious, and political factors influence its transformations in the work of different epigrammatists. Furthermore, I examine the goddess’ use as a metonymy and its semantic flexibility. In the fourth chapter, I study Eros’ representations in art and epigrams and unveil the ‘common codes’ existing in these two media for the crystallisation of emotions and ideas on love through the god’s portrayals. I analyse in detail three depictions of him, whose roots can be detected back to lyric poetry, in order to demonstrate how the epigrammatists handled and refreshed the inherited material. My research concludes with the study of the multidimensional use of the plural love gods (the Erotes). My thesis looks deep into the inner-workings of ancient Greek epigram, especially of its erotic subtype, and proves how sophisticated these poems are. It explores the complex combination of the elements of stability, adaptability, and change which played a key-role in the genre’s development, and moreover, significantly enriches our understanding of individual epigrams as it locates them within larger frames of interpretation.

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9

Hendrickson, Ruth Ann. "Narrative strategies of erotic fictional autobiography /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050228985.

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10

Chediak, Putnam Katherine. "Writing Antiheroines for the Erotic Thriller." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/406066.

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This research employs creative practice to develop a screenwriting framework for writing antiheroines for the erotic thriller film genre. It comprises the creative artefact, the screenplay titled Perfect Wife, and this exegesis, which underpins and contextualises the screenplay and incrementally develops the “Genre Screenwriting Practice Framework”, thus contributing to the academic field of script development and screenwriting as creative practice. The research findings aim to assist screenwriters in the development of antiheroine protagonists for the erotic thriller genre as well as the genre itself. Drawing from transdisciplinary fields including script development, screen studies, and film genre theory, “Writing Antiheroines for the Erotic thriller” follows my creative journey in the development of the female version of the erotic thriller antihero, a figure who arguably is yet to be seen in mainstream erotic thriller feature films.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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11

Lavigne, Julie. "L'art féministe et la traversée de la pornographie : érotisme et intersubjectivité chez Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85181.

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The increasing importance of pornography since its commercialization at the end of the seventies modified the artistic landscape of sexual representation. What has occurred is a transformation of the horizon of expectations of pornographic images, the definition of eroticism and the relationship between the two notions. In this perspective, the thesis concentrates on the analysis of the appropriation of certain distinct traits of hard core pornography in feminist art. Specifically, it is a qualitative analysis of the interrelations between eroticism and pornography in feminist art during the 1980s. The thesis proceeds to an in-depth analysis of several works by Pipilotti Rist, Annie Sprinkle, and Marlene Dumas as well as adding three earlier works of sexually explicit representation by Carolee Schneemann. The analysis of these works aims to redefine notions of pornography and eroticism, drawing on the work of Linda Williams for the first definition and Georges Bataille for the second. The theoretical context of the thesis, which also turns out to be the historical context of the works, is made up of disciplinary approaches that have most contributed to the debate around eroticism and pornography: art history, philosophy, feminist studies, queer theory, semiology and psychoanalysis.
The thesis makes several conclusions. First, the dynamic between eroticism and pornography does not have to be considered oppositional; the two methods of expression are frequently both represented in the same work. Also, women are no longer uniquely victims of pornography (they are increasingly in the role of pornographic auteure) and the analysis of these works confirms that feminists have appropriated the genre to explore a diversity of female eroticisms and propose a form of feminist, intersubjective pornography. Finally, the use by female artists of syntaxes and features typical of pornography helps to bring about a demand for a more complete and complex female subjectivity which is no longer only political, but also sexual.

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12

Bouclin, Suzanne. "Organizing resistance: The case of erotic dancers." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26319.

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13

Hu, Lenny Lingyi. "Sexuality and containment, Ling Mengchu's erotic stories." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0011/NQ50039.pdf.

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14

Panya, Orathai. "Gender and sexuality in Thai erotic literature." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430881.

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15

Skipp, Jennifer Anne. "British eighteenth-century erotic literature : a reassessment." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439581.

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16

Leung, Dallas G. "The erotic state of D. & V." Thesis, Virginia Polytechnic Institute and State University, 1992. http://hdl.handle.net/10919/51919.

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17

Bolsø, Agnes. "Power in the Erotic : Feminism and Lesbian Practice." Doctoral thesis, Norwegian University of Science and Technology, Faculty of Social Sciences and Technology Management, 2002. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-354.

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This project is about power and sexual desire. The chapter explains the different ways in which ‘power’ is used: as a relational concept for dynamics between individuals, and as a structural societal concept. Power is understood as having a capacity for producing subordination, but also pleasure. The chapter comments upon the feminist debate on power and sexuality. The ambition of the present project is to contribute to this debate, and the analytical approach is sketched out: to investigate lesbian negotiations of power issues known from the feminist critique of heterosexuality.

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18

Tulloch-Hoskins, Amanda Julie Pearl. "Gertrude Stein and the power of the erotic /." Title page, table of contents and conclusions only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09art919.pdf.

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19

Toulalan, Sarah Diane. "Writing the erotic : pornography in seventeenth century England." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397941.

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20

Hanson, Julie L. "Sexy lesbian men : the erotic potential of drag kinging /." Title page, contents and introduction only, 2000. http://web4.library.adelaide.edu.au/theses/09AR/09arh251.pdf.

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21

Kuzma, Joseph Dlaboha. "Erotic scenographies : Blanchot, Nietzsche & the exigency of return." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/47816/.

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It is undoubtedly one of Kafka's finest erotic scenes – the description of K.'s furtive tryst on the tap-room floor. – Wrapped in Frieda's arms, he rolls back and forth through small puddles of beer and rubbish, her small body burning in his reluctant hands. "Hours passed there," writes Kafka, "hours breathing together with a single heartbeart [gemeinsamen Herzschlags], hours in which K. constantly felt he was lost or had wandered farther into foreign lands [der Fremde] than any human being before him ..." What makes this passage so compelling is the manner in which Kafka, in four short lines, manages to distil everything ambiguous and terrifying about the erotic relation into a scene which, otherwise, could almost pass for sentimental.

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22

Wellington, Sarah Thea Arruda. "Finding the power of the erotic in Japanese yuri manga." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54589.

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Yuri is the genre of Japanese manga and anime that focuses on romantic and sexual relationships between girls and women. Although what is perceived to be its counterpart, yaoi or BL, has received a great amount of scholarly attention in the past years, yuri, however, is still a nascent topic in academic discourse. Upon briefly delineating Japanese prewar girls’ culture and its influence on the romantic and erotic spaces found in female-authored manga made for a female audience, several female-authored narratives from the erotic yuri manga anthology Yuri hime wildrose are analyzed in regards to their depiction of relationship dynamics, the female body, and the space in which both are explored. These yuri narratives are considered in relation to Audre Lorde’s ideas of the erotic to show that despite their lack of explicit lesbian identity and social realism, they manage to carve out a positive erotic space that is ultimately empowering for female readers.
Arts, Faculty of
Asian Studies, Department of
Graduate

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23

Kotaki, V. "An exploration of how therapists experience erotic feelings in therapy." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16054/.

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Aims and objectives: This study has three aims. The first aim is to explore how therapists experience erotic feelings in therapy. The second aim is to examine how therapists’ experience of the erotic is constructed, and the third aim is to identify how therapists’ accounts construct the social world. The objectives of the study are to (1) make meaning of therapists’ experience, (2) theorise the basic social processes, contexts and structural conditions that influence the construction of their experience, and (3) suggest practical applications (Braun & Clarke, 2006, 2013, 2014). Methodology: The Constructionist model of Thematic Analysis (Braun & Clarke, 2006, 2013) is used to analyse the collected qualitative data. Method: Data were collected by conducting semi-structured interviews with thirteen therapists. The participants were six male and seven female who had more than five years of post-qualification experience. Interviews were audio recorded, transcribed and analysed. Results: The findings suggest that the majority of participants are not prepared for their encounter with the erotic. Most of them perceive it as a mysterious phenomenon, view it as a professional taboo, and argue that it has personal and sensitive meaning for both themselves and their clients. The majority of participants appear to encounter a series of challenges, which they process internally while they handle the erotic explicitly, implicitly or not at all. Participants’ understanding of the erotic is mostly influenced by their clinical experience and the quality of supervision they receive. Their experience of the erotic is constructed through their interaction with society, training institutions, the profession and the regulation of clinical practice. At the same time, due to the inter-relationship between social systems and therapeutic practice, participants’ accounts construct the social world. Participants understand the erotic as a product of therapy and highlight that it can be either constructive or destructive. At last, they advocate that a practical approach to learning, open conversations on the subject and strategies to overcome the restrictions set by society, culture and regulation are required to enable their work with the erotic. Discussion: Research findings and implications for practice are discussed. The methodology used to conduct the study is evaluated. Suggestions for further research are provided.

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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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Guevara, Perry Daniel. "(Un)Doing Desdemona gender, fetish, and erotic materiality in Othello /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457178998/viewonline.

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Siroonian, Jason. "Gay pornographic videos the emergent Falcon formula /." Thesis, Connect to this title online, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD%5F0005/MQ43951.pdf.

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27

Kelly, Jason James. "Mysticism Unbound: An Interpretative Reading of Jeffrey J. Kripal's Contribution to the Contemporary Study of Mysticism." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19926.

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This thesis examines the relationship between human sexuality and “the mystical” in the work of Jeffrey J. Kripal. I claim that Kripal presents a nondualistic understanding of the relationship between human sexuality and “the mystical” that contests the conventional distinction between body and “soul.” In particular, Kripal’s two central concepts – “the erotic” and “the enlightenment of the body” – suggest that embodiment shapes our understanding of “the mystical.” By demonstrating the psychoanalytic, hermeneutical, and comparative significance of the relationship between human sexuality and “the mystical,” Kripal’s model calls attention to the crucial role that body, gender, and sexual orientation play in both the historical and contemporary study of mysticism. The point of my research is to show that Kripal’s approach signals a new way of studying “the mystical” in terms of “mystical humanism,” which draws on both Eastern and Western philosophies to construct a critical, non-reductive appreciation for the transformative and ultimately emancipatory potential of certain mystical states of consciousness.

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Ek, Imelda Helena. "Erotic Insanity : Sex and psychiatry at Vadstena asylum, Sweden 1849-1878." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-146255.

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The early nineteenth century saw the emergence of institutional psychiatry across Europe. Aware that Sweden had fallen behind in this development, Parliament decreed in 1823 that a number of specialised institutions for the care of the insane were to be established. The Vadstena asylum, opened in 1826, was the first such institution in Sweden. The aim of this study is to examine medical interpretation of and responses to erotic behaviour in psychiatric practice at the Vadstena asylum in the period 1849-1878. The book places the theme of the erotic, a topical subject in nineteenth-century public debate, in the context of psychiatry as an emerging specialty in Sweden. The book explores how erotic behaviour was conceptualised as disease, and the nature of therapeutic intervention in erotic cases, in order to present a more nuanced image of nineteenth-century medical attitudes to sexuality. By highlighting the superintendency of physician Ludvig Magnus Hjertstedt, and linking his account of an 1845 study tour through Europe to medical practice at Vadstena, the study situates responses to erotic patients in a period when psychiatry claims authority over human sexuality. In methodological terms, the study applies critical questions inspired by revisionist scholarship to a body of empirical source material. Focusing on a single institution, and conducting in-depth readings of case notes – with regard to language, form, and function – allows the study to highlight the everyday practice of the asylum physician in his encounters with male and female erotic patients, including the use, importance and diagnostic integrity of the concepts nymphomania, erotomania and masturbation. Hjertstedt’s travel journal provides insight into the physician’s medical philosophy, informing the analysis of diagnostic and interpretive procedures, while connecting medical practice at Vadstena to its European paragons. The results indicate that while the use of specific diagnostic terms to describe erotic behaviour was infrequent, therapeutic and managerial intervention shows that sexual acts and expressions of desire were considered disturbing and dangerous symptoms in both male and female patients. The analysis thus makes visible a gap between psychiatric theory and asylum practice, emphasising uncertainties and complexities inherent in the latter. While erotic behaviour could be considered indicative of illness, it might also be interpreted as a lack of character or a result of insufficient moral instruction. The asylum’s regime of work and moral instruction was designed to restore health as well as sound values and appropriate behaviour in its patients, indicating a medical culture at Vadstena which was both curative and normalising.

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McInnis, Meredith. "Dissecting the erotic : art and sexuality in mid-Victorian medical anatomy." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/930.

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In the mid-nineteenth century, anatomical illustration in England underwent a crisis of representation. Moral authorities were growing increasingly concerned with the proliferation of images of the naked body and the effects they might have on public “decency.” The anatomical profession was sensitive to this hostile climate to nude representations. In the years immediately preceding the Obscene Publications Act of 1857 that defined the category of “pornography,” anatomical illustration was being purged of sexual connotations as part of an attempt to consolidate medicine as a respectable “profession.” In the eyes of this new professional body, there was no space for sexual associations in anatomical texts. Artistic medical anatomy’s rejection was driven by its links to problematic erotic traditions. Specifically, anatomy’s proximity to pseudo-medical pornography, the same-sex eroticism of the Hellenic tradition, and the problem of the male and female nude in “high art” were at issue. In representing the naked body artistically, anatomists brought their illustrations into dangerous proximity with these traditions. By systematically putting the work of one Victorian anatomist, Joseph Maclise, into dialogue with these erotic traditions, it becomes clear that medicine was not isolated from the broader sexual culture. This study demonstrates that viewing publics and viewing practices are historically specific and are brought into being by the interaction of visual phenomena by emphasizing the fluidity between representational fields of art, medicine and sexuality. The effort to excise the sexual meanings contained in anatomy ultimately led to the emergence of a new diagrammatic style of anatomical drawing that became the orthodox style of medical illustration, and that persists to this day.

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Sanders, Ryya Aviva. "Methodological embodiments : psychical corporeal performances of subjective specific auto(erotic)-representations." Thesis, University of Plymouth, 2001. http://hdl.handle.net/10026.1/2697.

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A great deal of critical attention has been paid over the last twenty years at least to the relation of 'self and 'Other'. But what happens when the external 'other' is displaced to the periphery of the concerns of textual production? In order to explore this question Methodological Embodiments employs an interdisciplinary praxis that is not limited to the classic model of written theory. At the same time, it does not negate this form that has historical and ideological precedence within an academic context. The aim of this thesis is to juxtapose written theory with artistic practices in order to initiate, develop and represent a dialogue between subjectivity and methods of theoretical engagement. The performative negotiation between the embodied experience of the practitioner and the investigative forms constitute a tripartite relation that implicates 'performance' as a third term in the methodological formulation. The final submission includes 1) a written dissertation, Methodological Embodiments: Psychical Corporeal Performances of Subjective Specific Auto[erotic]-Representations; 2) an exhibition, I:Matter; and 3) the live performance, I:Do. My thesis argues for, and enacts, a positive framing of individual embodied experience within a dialogue between linguistic and artistic practices. Academia has traditionally privileged the written word in the definition of 'theory'. This has limited the understanding of how meaning is made and how the subject as scholar is implicated within the production of knowledge. At the same time, within classic psychoanalysis, subjectivity has also come to be understood through, and in relation to, language. While language clearly has a significant part to play in the making of both theory and a/the subject, it must be situated in relation to individual embodiment. Classic psychoanalysis falls short of this insofar as it fails to take into account the implications of sexual difference. This neglect has resulted in the construction of phallocentric frameworks that not only misrepresent women as a 'model' of disease and lack, but problematically foreclose the possibility of symbolic agency for a/the woman. The relation between materiality and image as regards representation is significant to these discourses of subjectivity, language and art, respectively and at the points in which they overlap. Throughout the thesis many specific terms and concepts have been either coined or reappropriated in order to situate and accurately define the concerns of my work. Two important examples are cited here. First, my recourse to the psychoanalytic term psychical corporeality, which suggests that embodiment simultaneously informs and inscribes the psychical perceptions of the subject in relation to surrounding environments and a sense of self. Secondly, in place of the psychoanalytic use of Narcissism is my use of autoeroticism that seeks to re-define the literary genre of autobiography and the traditional understanding of self-portraiture in the visual arts, to what I have called auto[erotic] - representation(s) within my own textual production.

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Dixon, Lynette Mawolu. "Imagining Beyond the Body: The Speculative Erotic Power of the Flesh." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555686939405447.

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Banner, Michael Lee. "Sex and Pottery: Erotic Images on Athenian Cups, 600-300 B.C." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-1110103-133636/unrestricted/BannerM121003f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-1110103-133636. Includes bibliographical references. Also available via Internet at the UMI web site.

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Driscoll, Mark W. "Erotic empire, grotesque empire work and text in Japan's imperial modernism /." online access from Digital dissertation consortium, 2000. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9953667.

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Kelly, Amelia. "Anxiety and Agency in Fashion, Beauty, and the Erotic Female Grotesque." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18997.

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This thesis considers anxieties and concepts of agency related to femininity as represented through the beautiful and the grotesque, and the tensions that manifest when these two states coalesce. Reviewing dominant anti-fashion/beauty rhetoric that rose to prominence with second-wave feminism establishes a framework for understanding the persistence of Western culture’s fraught relationship with women’s cultivation of image and sexual appeal. Conversely, examining third and fourth-wave feminism’s more holistic embrace of fashion presents an alternate viewpoint that justifies the agential power of knowing engagement with contemporary systems of dress and beautification. This is supported by theories of performativity of gender. Similarly, highlighting Western culture’s historic belief that women’s bodies exist as innately abject provides insight into enduring anxieties towards the corporeal female form constituted as grotesque. In contrast, referencing scholarly theories that frame the carnivalesque female grotesque, including the active display of erotic will, as a mode of liberating female bodily expression, helps support arguments for the grotesque’s self-affirming potential. Consideration of philosophical arguments that demonstrate the value of the erotic and its connection with the abject assists in reasoning the link between personal sovereignty, erotic pleasure and transgression. Examination of select artistic examples helps draw even greater attention to the tensions that reside in dominant attitudes towards representations of femininity today. The studio practice consists of two short films buttressed by a selection of photographic works. These artworks use the subject of the self to explore concerns of fantastical, performative self-transformation to reflect on the polymorphic nature of femininity. Like the work critiqued in the thesis, the studio research similarly evokes aesthetics of the sumptuous, alluring and repellent relating to style, location, materiality and the female body. Together, the written thesis and creative studio outcomes aid appreciation of the semiotic value of this ambiguous yet powerful mode of representation.

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Girod, Virginie. "L’érotisme féminin à Rome, dans le Latium et en Campanie, sous les Julio-Claudiens et les Flaviens : recherches d’histoire sociale." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040075.

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Le fonctionnement de la société romaine reposait en partie sur la distinction de genre et de groupe social. Cela était particulièrement prégnant dans le domaine de l’érotisme. Au-dessus de tous les groupes sociaux se situait celui des hommes libres dont le rôle sexuel était celui de dominant-pénétrant. De fait, l’érotisme à la romaine peut être défini comme étant phallocentrique. Par opposition, toutes les autres catégories de personnes formaient le groupe des dominés-pénétrés. Néanmoins, le degré de soumission de chacun était déterminé par sa position sur l’échelle sociale. Les matrones avaient accès à un érotisme restreint qui se voulait procréatif. Les autres femmes, dans une certaine mesure, pouvaient être utilisées par les hommes de qui elles dépendaient comme des instruments de plaisir. Ainsi, la prostitution a toujours eu un rôle important à Rome. Bien qu’infâmes, les prostituées avaient pour mission d’assouvir les besoins charnels des hommes et pratiquaient une sexualité récréative plutôt décomplexée. Toutes les pratiques sexuelles n’étaient cependant pas admises et si, contrairement aux chastes matrones, les prostituées pouvaient s’autoriser des formes de sexualité non fécondantes, les pratiques jugées perverses (scopophilie, exhibitionnisme, agalmatophilie, etc…) étaient, selon la morale, à bannir de tous les lits
The functioning of the Roman society was based partially on the distinction of genre and social group. It was particularly strong in the eroticism. Over all the social groups was situated that of the free men whose sexual role was the one of dominating - penetrating. Actually, the Roman type eroticism can be defined as being phallocentric. By opposition, all other categories of persons formed the group of dominated penetrated. Nevertheless, the degree of submission of each was determined by its position on the social scale. The stout women had access to an eroticism restricts who was procreative. Other women, to a certain extent, could be used by the men as instruments of pleasure. So, the prostitution always had an important role in Rome. The prostitutes had an important mission. But, all the sexual practices were not allowed and if, contrary of the matronae, the prostitutes could adduce forms of sexuality for not being pregnant, the practices considered perverse (scopophilia, exhibitionism, agalmatophilia, etc.) were banished, according to the morality, of all the beds

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Bárbara, Ana Clara Jorge. "'Saudade' or the erotic journey back to oneself : an enquiry through sculpture." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/26223.

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This is a practice-led research project with the focus of the research being conducted by my practice as a visual artist. This project explores notions centred on the concept of the ontological journey, here equated with the being's search for his/her inner spiritual nature. The theme is interrogated through the production of three pieces of three-dimensional artwork in tandem with a contextually significant exhibition space, and accompanying written component. Whilst having several points of interaction, each of the objects endorses one fundamental aspect of the ontological journey. These are: the search or quest by the being for his/her counterpart. the encounter of those two aspects: the quest's teleology. the revelation of the spiritual interior which the journey entails: the process of inner revelation. Saudade, an idiosyncratic Portuguese sense of nostalgia, is here considered as the underlying emotion that propels the search. Eros is the attractive and binding energy that impels the quest, and is responsible for the consummation of the journey. The main method used in the production of the artwork is `poetic logic' (Tarkovsky), a process of creation by semantic and formal analogy. Symbolism, here understood as the formal representation of a prototypical idea, plays a crucial role in the production and analysis of the sculpture. The underlying philosophy behind the artistic enquiry is the philosophy of alchemy, here understood mainly from the perspectives of the interplay of duality in nature, and as a process of transmutation.

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Labossiere, Donald F. "Between worlds, a search for secrets within the Cathedral of Erotic Misery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ43980.pdf.

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Labossière, Donald F. "Between worlds : a search for secrets within the Cathedral of erotic misery." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20189.

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This thesis is a radical reinterpretation of the Hannover Merzbau ( Cathedral of Erotic Misery) by Kurt Schwitters. It proposes and demonstrates that two of Schwitters' own photographs of the work should not be viewed as being descriptions of a "constructed" Merzbau, but rather understood as complex constructions that generate a critical questioning of the modern site of perception.
Through an exploration of language (as understood within Giambattista Vico's New Science) the photographs come to deconstruct themselves within a context of simultaneous readings; allowing both the "secret" space of the modern Merzbau, and the sacred place of the Cathedral to exist simultaneously.

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Anagnostou, Evangelia. "Studies in ancient erotic mythology : ritual and literary values of initiation patterns." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250308.

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Goehrke, April M. "Ero ka? Guro nanoka? Erotic Grotesque Nonsense and Escalation in Mass Culture." Thesis, New York University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10750861.

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With its roots in 1920’s and 30’s Japan, the term eroguro nansensu (erotic grotesque nonsense) refers to an artistic movement with an aesthetic that focuses on grotesque visuals and bizarre humor. My project is to examine the contemporary form of eroguro nansensu as an avenue for considering how mass culture changes and develops over time. Focusing on how mass culture changes is important because it could potentially illuminate breaks/openings where something can escape the hegemony of the culture industry. The method of change, and potential mode of escape from the culture industry that I identify here is escalation. Escalation both contains and explains mass culture’s propensity towards repetition but also allows for a certain amount of change. Eroguro nansensu may also have a unique place to reflect on and potentially critique the manga (comic) industry and what this says about Japanese culture more generally. While eroguro nansensu may be rejected by many due to the intensity of the erotic and grotesque imagery, or ignored as simply meaningless nonsense, there are enough artists and fans interested in this aesthetic that there is hidden potential here that I aim to bring into the light. Nonetheless, no extended scholarly work has yet been done on the contemporary revival of eroguro nansensu as a genre of manga in the last few decades of the 20^th century. I am attempting to fill in some of that gap with my own analysis as well as by presenting information on contemporary eroguro nansensu as a mass culture movement, about which little has been written in English or Japanese to date. In my dissertation I begin with the historical background of eroguro nansensu, and proceed through analysis of its use of humor and aesthetics, all as a means of considering mass culture and its critique.

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Rutter-Jensen, Chloe. "Drugs, revolution, and sports : narrating the erotic other in recent Colombian fiction /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3064475.

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Rodríguez-Dorans, Edgar. "Understanding gay men's identities through narratives of their erotic and romantic relationships." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/28790.

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‘Gay identity’ is an often taken-for-granted concept in research. When researchers refer to gay men’s identities, the term is used in relation to sexuality, as a labelling process, and operationalised through reference to homosexual relationships. But what do those relationships mean to gay men? What does ‘being gay’ mean to gay men? Those questions, for the most part, remain unaddressed. My review of literature shows that ‘being gay’ has been commonly equated to ‘being homosexual’ and, although sexual relationships are one of the most common themes in research about gay men, studies often investigate them from epidemiological perspectives. In this thesis, I draw attention to the limits of those perspectives and explore the contributions that sexual, erotic, and romantic connections make to gay men’s sense of identity. From a narrative approach, this thesis is concerned with how self-identified gay men give meanings to their romantic, erotic, and sexual relationships and how those meanings become entangled with their sense of who they are. To conduct this study, I interviewed ten gay men of different ages and backgrounds living in the United Kingdom, each of whom provided narrative data during unstructured one-to-one, one-off interviews. Drawing upon a narrative structural analysis, my findings are presented in two ways: first in the form of idiographic narratives concerning five participants and, secondly, as an overarching analysis with central themes identified across participants’ narratives. My findings show that gay men construct a sense of identity through their sexual, erotic, and romantic relationships and that being gay pervades the self in a way that affects their entire life stories. This study concludes by challenging the conception of ‘being gay’ as a sexual orientation because it describes in sexual terms an identity that is not only, not always, and not predominantly sexual.

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Preston, Jennifer Louise. "Nishikawa Sukenobu : the engagement of popular art in socio-political discourse." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/25578/.

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Nishikawa Sukenobu was a popular artist working in Kyoto in the first half of the eighteenth century. He was principally known as the author of popular 'ehon', or illustrated books. Between 1710 and 1722, he published some fifty erotic works, including a work detailing sexual mores at court which Baba Bunkô, amongst others, believed responsible for prompting the ban on erotica that came with the Kyôhô reform package of 1722. Thereafter, he produced works generally categorized as 'fûzoku ehon': versions of canonical texts, poems and riddles, executed in a contemporary idiom. This thesis focusses on the corpus of illustrated books from the early erotica of the 1710s to the posthumously published work of 1752. It contends that these works were political: that Sukenobu used first the medium of the erotic, then the image-text format of the children's book to articulate anti-bakufu and pro-imperialist sentiment. It explores allusions to the contemporary political landscape by reading the works against Edo and Kyoto 'machibure', contemporary diaries (such as 'Getsudô kenbunshû') and contemporary pamphlets ('rakusho'). It also places the ehon in the context of other contemporary literary production: for example the anti-Confucianist writings of the popular Shinto preacher Masuho Zankô and the 'ukiyozôshi' production of Ejima Kiseki (whose works were illustrated by Sukenobu). It corroborates these findings by citing evidence of the political sympathies of Sukenobu's collaborators: for example, the political writings of the Kyoto educationalist Nakamura Sankinshi; the works of the children's author and Confucian scholar Nakamura Rankin (aka Mizumoto Shinzô); and the fictional and 'kojitsu' writings of the Shinto scholar Tada Nanrei.

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Minor, L. Alvis. "Wet, wet boys." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2332.

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Gómez-Ramírez, Oralia. "Swinging around the pole : sexuality, fitness, and stripper stigma in erotic dancing classes." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31860.

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In this thesis, I examine issues relating to pole dancing classes as performed in Vancouver, Canada. Pole dancing classes are programs inspired by erotic dancing, offered largely in fitness studios that have appeared during the past five years. Based on interviews with two instructors and eight students of pole dancing, participant-observations, and archival data, I address three themes that emerged during my field research. First, I describe the erotic fitness scene in the city. Second, I consider the different reasons women give for pole dancing. Here, I address the existing tensions between erotic pole dancing and pole fitness. And third, I document women's experiences and negotiations of the stripper stigma attached to the classes. I found that despite challenging prevalent sexual mores and gendered racial scripts, and developing a strong sense of admiration for strippers, in their efforts to deal with stigma pole dancing students re-inscribe established norms about female sexualities, inaccurate assumptions about professional erotic dancers, and widely held negative perceptions about sex industry workers
Arts, Faculty of
Anthropology, Department of
Graduate

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Yost, Megan R. "Consensual sexual sadomasochism and sexual aggression perpetration : exploring the erotic value of power /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.

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Gehrisch, Birgit. ""Lepusculus Domini, erotic hare, Meister Lampe" : zur Rolle des Hasen in der Kulturgeschichte /." Wettenberg : VVB Laufersweiler, 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=977309878.

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CHANG, WEN LIANG, and 張文樑. "Erotic Ginseng." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/08399101413075359413.

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Asensio-Sierra, Isabel. "Erotic bodies/erotic politics in Latin American women's writing." Diss., 2006. http://bibpurl.oclc.org/web/22104.

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Chen, Mong-Heng, and 陳孟珩. "Erotic Temple-Religious Ceremony." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/18678572965910289547.

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碩士
國立臺南藝術大學
應用藝術研究所
97
“The Erotic Temple-Religious Ceremony” is inspired by Jianjiao, a Taoist ritual practiced in the agricultural society. By using the objects seen in Jianjiao, such as wreaths, deity figures, flour-made turtles, sacrifice boats, incense bags, and good-fortune lights, this work demonstrates the praise and blessing of the carnal desires between males and females in the modern information technology world where the Internet is used to convey images. The material used includes clay, bamboo, stuffing, installation, collage, and transfer printing. Hand-sewing, machine-sewing, machine-embroidery, basketry and computer embroidery techniques are used to present the seven serial works: Red Male and Green Female; Blessing for Peace; Viagra Turtle; Catch this, Lover! ; Sexual Satisfaction Light; Love Boat; and God of Joy. The author expresses viewpoints about sex in a creative way through the exhibition of “the Erotic Temple-Religious Ceremony”. Further creations with sex-related topics are intended in the future. The research and exploration on the relationships among different materials and the interactive relationship between artwork and space shall be continued to accumulate experience in fiber art creations.

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