Добірка наукової літератури з теми "Roman sexuality"

The thesis includes a novel, Rufius the Cinaedus, and an exegesis, The ‘Pivot of Authenticity’: Representing Ancient Roman Sexuality in Fiction, which explores how I creatively engaged with the historical sources to write Rufius the Cinaedus, and the different approaches taken by novelists when writing ancient Rome. Rufius the Cinaedus is a love story between Aeson, a street kid and his mentor, Rufius set in fourth century Alexandria, a period of religious revolution. Plucked from the red-light district, Aeson is groomed for the academy – and as Rufius’ lover. The novel aims to demonstrate the ancient Roman sexual paradigm and explores gender identity, childhood, comradeship and the heroism of ordinary people in a time of turmoil. The exegesis explores the tension that exists between authentically representing the sexuality of ancient Roman characters, and making them engaging for a modern audience. This raises the question: to what extent is historical authenticity desirable? Modern novels of ancient Rome are displaced in terms of time, language and authorship – which necessitates a degree of anachronism. Novelists must decide where to position the ‘pivot of authenticity’: the relationship between the author’s aim with respect to historical authenticity and the reception of the reader. To bridge the gap in time, novelists shift the ‘pivot’, often overlaying modern morals and sexual norms on to the ancient Romans. Authors have been interviewed about their approach to writing historical fiction to validate their process. The original contribution is the ‘pivot of authenticity’, which developed as a composition tool to assist the aim of historical plausibility in Rufius the Cinaedus. The phrase also adds to the discourse of literary theory on the historical novel, and can be used as a tool to evaluate a novel’s relationship with history.

I denna studie undersöker jag Carina Rydbergs skildring av "dålig" sexualitet. Jag gör en närläsning av Rydbergs roman Månaderna utan R. Läsningen utgår från Michel Foucaults och Jacques Derridas dekonstruktionsteorier samt från Judith Butlers genusteorier. Jag undersöker huruvida romanen kan läsas som gotisk, huruvida Rydberg kan sägas luckra upp gränsen mellan "god" och "dålig" sexualitet, samt huruvida hon skildrar sadomasochistiska kvinnor som subjekt. Jag kommer fram till att Rydberg kan sägas luckra upp gränsen mellan "god" och "dålig" sexualitet och att hon, genom att skildra sadomasochistiska kvinnor som subjekt, stör könade sexualitetsnormer. Häri ligger Rydbergs subversiva potential. Detta betraktar jag som en aspekt av den gotiska tradition som Månaderna utan R kan sägas tillhöra.

Les personnes ayant subi la colonisation, survécu aux troubles qui précèdent les indépendances, et pu profiter du retrait colonial en adoptant ses modèles ne sont pas en peine d’identité. Mais ceux qui n’ont pu le faire faute d’opportunité ou d’adaptabilité, ou du fait de leur âge, sont aptes à rejeter ces modèles requérant l’abandon des traditions vestimentaires ou autres, celles qui leur conféreraient une identité, croient-ils, si la collectivité redevenait homogène. Zahra la triste protagoniste de ʿAm al-fil, de la Marocaine Laylā Abū Zayd, ettrois des quatre vieux protagonistes de ʿUššāq Bayya, du Tunisien al-Sālimī, partagent cette hantise de pureté culturelle au point de se rendre encore plus malades qu’ils ne le sont, surtout à propos de l’argent qui « pourrit tout ». Zahra n’est ni tendre ni sensuelle, et son mariage cesse quand son mari, soudain enrichi, prend une maîtresse ; et les trois autres entretiennent secrètement un fantasme sexuel sur une même femme sans qu’elle le sache, ce qui perce au jour tandis que le fils du quatrième, un émigré enrichi en Allemagne, décide de l’épouser. Zahra finit par se tourner exclusivement vers Dieu pour s’assurer le paradis tandis que les vieillards vivent dans la terreur de l’enfer. Que ceux qui ont eu la jeunesse la plus douce en guérissent avant de mourir désigne la véritable altérité. C’est la perversité d’une tradition que valident des croyances religieuses terrifiantes, laquelle empêche l’amitié entre garçons et filles et les marie sans souci des goûts et aptitudes, puis invite les hommes à maltraiter femme et enfants pour compenser. Comme peu guérissent de leur enfance, le cycle recommence et la tradition se perpétue<br>Those undergoing colonization, surviving pre-independence turmoil, and profiting from the colonizer’s withdrawal by adopting its models, are not looking for an identity. Yet those who are not adaptable, blind to opportunity, or old, are prone to reject models requiring giving up clothing or other such aspects of tradition which, they believe, would grant them a sense of identity – if only their community became homogenous again. The pitiful protagonist in ʿAmal-fil (Year of the Elephant), by Morrocan author Laylā Abū Zayd, and three of the four aged protagonists in ʿUššāq Bayya (The Lovers of Bayya), by Tunisian author Al-Sālimī, have a fear of cultural pollution so acute that they make themselves even sicker than they already were, especially when it comes to money which “rots everything”. Zahra is neither softhearted nor sensuous, and her marriage is brought to an end when her suddenly rich husband takes a lover; and the other three secretly nurture a sexual fantasy about the same woman while the son of the fourth, a visiting émigré who grew rich in Germany, decides to marry her. Zahra eventually turns to God to assure a place for herself in heaven whereas the old men agonize in the dread of hell. By dismissing this fear before they die, the two men who had the easiest youth point to the nature of genuine alterity in their community. It is the perversity of a tradition validated by terrifying religious beliefs, which prevents friendships among adolescent boys and girls, then marries them off with no consideration for their tastes and aptitudes, and then invites the men to brutalize wife and children in compensation. Since very few ever recover from their childhood, the cycle starts again and the tradition survives

Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.

La représentation du désir sexuel féminin dans le roman de mœurs du second XIXe siècle soulève des enjeux cruciaux : elle fait apparaître les paradoxes d’un second XIXe siècle écartelé entre des visions des femmes contradictoires, créatures hantées par la sexualité ou vierges-mères ; elle nous renseigne sur les processus de construction des genres masculins et féminins ; elle nous fait réfléchir aux scandales d’hier et d’aujourd’hui que suscitent le corps féminin désirant et les regards portés sur lui ; elle interroge la poétique de ce genre littéraire et ses prétentions à l’objectivité. Nos romans ambitionnent de tout dire du réel, revendiquant une rationalité scientifique. Et pourtant, ils se livrent lorsqu’ils abordent le désir féminin à un voilage stylistique, exigeant du lecteur un travail de décodage. Nous avons entrepris d’analyser ce voile de mots qui recouvre les corps féminins, afin de percer les ressorts de cette mauvaise foi. La méthode sociocritique permet de montrer les interactions entre nos romans et les différents discours sociaux de leur temps (médicaux, religieux, juridiques ou encore pédagogiques), et ainsi de faire apparaître un imaginaire social complexe et cohérent du désir féminin, dont le roman tout à la fois reconduit et déjoue les stéréotypes. Dans les textes littéraires, les théories scientifiques se muent en matériau poétique, et le double-sens devient un véritable art. Ces représentations érotiques obliques font des descriptions du désir féminin un terrain miné de sous-entendus, élaboré le plus souvent par et pour des hommes. Certains romans ménagent toutefois déjà une place à une parole et à un regard de désir au féminin, voire par-delà le genre<br>The representation of female sexual desire in the novel of manners of the second half of the 19th century raises critical issues – it highlights the paradoxes at play in the second half of the 19th century, torn between contradictory representations of women, as either sexually haunted creatures or virgin mothers ; it informs us about the construction of masculine and feminine gender roles ; it makes us reflect on the scandals, past and present, caused by the desiring female body and the gaze cast upon it ; it interrogates the poetics of this literary genre as well as its claims to objectivity. The ambition of the novels analysed here is a comprehensive account of reality, with a claim to scientific rationality. And yet, when they deal with female desire, they indulge in a form of stylistic veiling that requires the reader to unpack the meaning. The purpose of this thesis was to analyse this veil of words covering female bodies, in order to lay bare the mechanisms behind the mendacity. The socio-critical method makes it possible to show the interactions between the novels and the various social discourses of their time – medical, religious, legal or even pedagogical – and thus to reveal a complex and coherent social imagery of female desire, whose stereotypes the novel both upholds and thwarts. In literary texts, scientific theories morph into poetic material, and double entendre becomes an art. These oblique erotic representations turn the descriptions of female desire into a minefield of innuendo, mostly developed by and for men. Some novels, however, already make room for a female voice and gaze of desire, sometimes even beyond gender

Denna studies syfte och forskningsfråga är att undersöka och besvara hur J.M. Coetzees roman Onåd kan förstås med utgångspunkt i de intersektionella kategorierna kön, ras och klass samt hur man som pedagog kan tillämpa romanen i den svenska gymnasieskolan för att diskutera och undervisa om jämställdhet och människors lika värde. För att nå syftet och frågeställningen undersöks kritiska delar av romanen med hjälp av diskursanalys. Tidigare forskning används också för att undersöka romanen. Metoden är utvald för att synliggöra de strukturer som omger karaktärerna i romanen och handlingsutrymmet de får. Romanen undersöks sedan intersektionellt för att påvisa hur kön, ras och klass påverkar människors livsvillkor. Analysen bedrivs med målet att påvisa hur romanen kan användas för undervisning om människors lika värde och jämställdhet. Resultatet visar att diskursanalysen är ett bra sätt att närma sig romanen genom, för att undervisa om jämställdhet och människors lika värde. Om läraren undervisar med hjälp av diskursanalys lyfts diskussionen om romanen till att handla om hur uttryck och handlingar påverkar och fastställer människors handlingsutrymmen. Det ger även en förståelse för hur människor positioneras i en diskurs. Eleverna får genom detta en möjlighet att se och förstå hur uttryck och handlingar placerar människor i olika makthierarkiska positioner, och att detta inte behöver spegla människans faktiska kvalitéer eller kunskaper. Så småningom kan denna förståelse användas för atti frågasätta stereotyper och normer som förtrycker människor. Genom Skolverkets ämnesspecifika formulering som handlar om att förstå människors livsvillkor med hjälp av litteratur kan läraren nå den ämnesövergripande formuleringen som handlar om att främja jämställdhet och människans lika värde.

This research is aimed to explain the origins and evolution of the philosophical antagonism to male same -sex sexuality under the argument that same-sex relations were contra naturam. It spans from classical Greece through the early middle-ages, and covers Platonism, Aristotelianism, Epicureanism, Greek Stoicism, Roman Judaism, Neoplatonism, and Christianity. A recurrent presence behind all antagonism to male same-sex sexuality was the Socratic ethics of abstention, and notions natural supernatural teleology. Other contributors were negative social connotations of passivity in adult men, and the intrinsic power differences that existed within the male same-sex relationships of antiquity. The argument that same-sex relations go against nature seems to fare worse under more modern understandings of the universe, animal sex-life, and the evidence against intelligent design in evolution of life forms.<br>Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of History.