Relevant bibliographies by topics / Erotic art France

Academic literature on the topic 'Erotic art France'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Erotic art France"

1

Chinita, Fátima. "A Tale of Sound and Fury Signifying Everything: Argentine Tango Dance Films as Complex Self-Reflexive Creation." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 68–85. http://dx.doi.org/10.2478/ausfm-2021-0015.

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Abstract This article equates the multidimensional artistic form of Argentine tango (dance, music and song) with the innately hybrid form of film. It compares Argentine tango culture to the height of French cinephilia in the 1950s Paris, France, arguing that they are both passionate, erotic and nostalgic ways of life. In Carlos Saura’s Tango (1998) and Sally Potter’s The Tango Lesson (1997), the intertwining of the related skills of tango practice and filmmaking are an audio-visual treat for the senses and a cognitive challenge for the mind. Their self-reflexivity promotes excess and the result is a highly expressive and complex form. They evince a cross-fertilization of reality and fiction, of art and life, typical of a perfect mise en abyme as described by Christian Metz. These films are also art musicals, although they depart from the Hollywood musical conventions. Yet, one cannot speak in their case of intermedia reflexivity, according to Petr Szczepanik’s definition, because both of them retain their qualities in a symbiotic relationship of likeness that highlights their mutual aura.
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Bikulčius, Vytautas. "Michel Houellebecq’s Submission – a novel of decadence." Literatūra 61, no. 4 (December 20, 2019): 94–100. http://dx.doi.org/10.15388/litera.2019.4.7.

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Michel Houellebecq’s Submission has been analysed as a novel of decadence in this paper. Referring to the works of Michel Winock, François Livi and Michel Onfray, it has been found that a decadent novel can be associated not only with the works of Joris-Karl Huysmans, Pierre Loűys, Jean Lorrain and others produced at the end of the 19th century but also at subsequent periods. Such characteristics of decadent writing as the threat of catastrophe, fundamental changes in society, nostalgia can be found in the analysed novel.François, the main character of the novel, an expert on Huysmans and a professor at Sorbonne University, supports Huysmans’ ideas to some extent trying to find the link between the end of the 19th century and the beginning of the 21st century by comparing processes in society. Huysmans sought an ideal in the Middle Ages, while François travels to Rocamadour, famous for the statue of the Black Madonna, with a hope to find a spiritual revelation but becomes aware that the world of the past has gone forever. Changes in society made Huysmans leave the monastery, similarly, François gets frustrated as he loses his job when the Muslim Fraternity comes into power.Using the dystopian genre, Houellebecq depicts unbelievable changes in society – the new government proclaims Islam an official religion of France. Society is governed by new rules, the authority is concerned about two things – demography and education. Those, who refuse to convert to Islam, lose their jobs. Changes in society are even linked with geopolitical changes. Meanwhile Houellebecq reveals significant differences between the decadence of the end of the 19th and of the 21st century. Huysmans’ decadence results in neuroses, a desire to seal himself off from the world in alcohol, drugs, etc., to surround himself with works of art, while François in Submission enjoys erotic pleasures, gradually becomes an alcoholic, he does not suffer like Huysmans’ protagonist Des Esseintes. It can be stated that Submission is a decadent novel only at thematic level since aesthetic values, characteristic of the decadence of the 19th century, are left in the background. The only justification of François is that he speaks about his conversion to Islam hypothetically, it shows that he has not made up his mind to take this step.
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van Orden, Kate. "FemaleComplaintes: Laments of Venus, Queens, and City Women in Late Sixteenth-Century France*." Renaissance Quarterly 54, no. 3 (2001): 801–45. http://dx.doi.org/10.2307/1261925.

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This essay studies a large repertory of French laments (complaintes,) written in the voices of women. As a feminine counterpart to masculine love lyric, thecomplaintearose from an alternative poetics, treating subjects excluded fromfin amors, such as death, crime, and war. Essentially, lyric assigned erotic longing to men and mourning to women. The unusual subject matter accommodated by thecomplaintes, coupled with a set of material and musical forms locating them amid the cultures of cheap print, psalmody, and street song, ultimately embroiled them in the battles of the religious wars. Thus female voices came to trumpet confessional politics in songs that levied lyric, gender, and faith to serve in civil war.
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Gutwirth, Madelyn. "Book review: Forbidden Texts: Erotic Literature and its Readers in Eighteenth- Century France." Eighteenth-Century Studies 30, no. 3 (1997): 323–24. http://dx.doi.org/10.1353/ecs.1997.0010.

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5

Cowart, Georgia. "Of women, sex and folly: Opera under the Old Regime." Cambridge Opera Journal 6, no. 3 (November 1994): 205–20. http://dx.doi.org/10.1017/s0954586700004304.

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Conservative writers in seventeenth-century France tended to agree that the morals of women were degenerating, though they disagreed as to whether the cause was the excessive strictness or the leniency of husbands. We would perhaps characterise the change more as a newly found sense of freedom and self-confidence that allowed women, however tentatively, to contest the double standard of the age. The new morality was seen in fashions that bared progressively more of the neck, shoulders, breasts, ankles and legs, revealing new erotic frontiers; in a relaxation of the taboo against female swearing and coarse language; in an epidemic of female gambling; and in scandalous reports of women's over-indulgences in the sensual pleasures of food, drink, nicotine and sex.
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Moffitt, John F. "A Hidden Sphinx by Agnolo Bronzino, “ex tabula Cebetis Thebani”." Renaissance Quarterly 46, no. 2 (1993): 277–307. http://dx.doi.org/10.2307/3039062.

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In 1568 Giorgio Vasari Described (from already dim memories) a now-famous allegorical painting that had been painted by Bronzino (Agnolo Allori) for Cosimo I de’ Medici. Now usually known as The Exposure of Luxury, the picture in the National Gallery in London seems by general acknowledgement to have been done around 1545 (Fig. I). According to Vasari's recollection Bronzino had “made a picture of singular beauty” that was sent to the king of France, François I. As best as Vasari could recall, the particulars of its complicated iconographic program were all devoted to variations on an erotic theme inasmuch as the picture included figures of “a nude Venus with [her son] Cupid, who was [shown] kissing her, and alongside [them] there were [other representations of] ‘Pleasure - il Piacere’ and ‘Idle Sport - il Giuoco’ accompanied by other ‘Loves-Amori.’
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7

Gladfelder, Hal. "The Decay of Singing: Remembering the Castrato." Modern Language Quarterly 83, no. 3 (September 1, 2022): 275–302. http://dx.doi.org/10.1215/00267929-9790990.

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Abstract The advent of a new political regime in Italy in the 1790s led to decrees banning castrati from the stage and the closure of the singing academies where they taught. But seventy years later the composer Gioacchino Rossini looked back to the castrati as the last adepts of the art of bel canto: “As to the castrati, they vanished, and the usage disappeared in the creation of new customs. That was the cause of the irretrievable decay of the art of singing.” This essay focuses on the eighteenth-century castrato Gasparo Pacchierotti—friend of Charles, Frances, and Susan Burney, idol of William Beckford—and on the efforts of the novelist and critic Stendhal to “remember” Pacchierotti’s lost voice. Stendhal never heard Pacchierotti in his prime, but in his 1824 Vie de Rossini he declared that the art of bel canto had reached its apogee with Pacchierotti in 1778: five years before the writer’s own birth. Stendhal sought to demonstrate that the lost voice could be remembered by way of both historical evidence and the textual and viva voce “recordings” of earlier listeners: Beckford, the Burneys, and the singer Gabriel Piozzi. In Stendhal’s erotics or mnemonics of musical sensation, such textual and performative recordings allow us to remember the sensations elicited by an absent voice as vividly as the phonographic or digital recordings on which later listeners would rely.
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8

Haber, Judith. ""I(t) could not choose but follow": Erotic Logic in The Changeling." Representations 81, no. 1 (2003): 79–98. http://dx.doi.org/10.1525/rep.2003.81.1.79.

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IN ACT 3 OF THOMAS MIDDLETON and William Rowley's The Changeling, in a scene that recalls and revises Beatrice Joanna's earlier "seduction" of the loathsome De Flores, De Flores makes evident his intention to commit rape. Beatrice kneels and sues for deliverance, but he refuses, raises her, and, as she shivers in mute fear, declares: 'Las how the turtle pants! Thou'lt love anon What thou so fear'st and faint'st to venture on. (3.4.169-70) These lines are clearly meant to recall the epithalamium from Ben Jonson's masque Hymenaei, composed to celebrate the scandalous marriage of Frances Howard and the Earl of Essex. By repeating Jonson's invocation to marital consummation at the end of a rape scene, Middleton does something similar to what the passage itself does——insists, that is, on the coincidence of fear and desire, of virgin and whore, of marriage and rape. And while the playwright makes the connection between these apparent opposites explicit, he seems to be merely spelling out paradoxes and problems that are already present in Jonson's poem and in the epithalamic tradition in general. This essay explores how The Changeling anatomizes, criticizes, and simultaneously participates in the assumptions implicit in that tradition. Here and in his other plays, Middleton succeeds, through a complex network of allusions, in foregrounding the frightening male fantasies at the heart of the tradition. At the same time, the play's powerful manipulation of dramatic structure enables it, in contrast to lyric and other nondramatic versions of those fantasies, to paper over the contradictions it uncovers, presenting its culture's nightmares in their most compelling form.
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Ferguson, Gary. "Marc D. Schachter. Voluntary Servitude and the Erotics of Friendship: From Classical Antiquity to Early Modern France. Aldershot: Ashgate Publishing Company, 2008. xii+227 pp. index. illus. bibl. $99.95. ISBN: 978–0–7546–6459–8." Renaissance Quarterly 62, no. 3 (2009): 879–80. http://dx.doi.org/10.1086/647376.

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Čapková, Helena. "Archipelago Toyen: New Work on the Czech Avant-Garde Artist." Austrian History Yearbook, March 31, 2022, 1–4. http://dx.doi.org/10.1017/s006723782200011x.

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Toyen (1902–80, born Marie Čermínová), a Czech avant-garde artist who spent most of her life and career in France, associated with a multitude of art groups that were dominated by the ideas of surrealism. She was a seeker and traveler who enjoyed collaboration with friends of any gender, nationality, or identity as a vehicle for her individual creativity. Toyen's fascinating and extensive body of work in a variety of media, ranging from painting to printing and design; her profound and lasting associations with more commonly known and often male artists, such as André Breton, Paul Éluard, or Benjamin Péret; as well as her charismatic, sexually ambivalent personality have increasingly become the focus of study. This no doubt has and will attract a growing number of sophisticated and high-quality research projects by scholars from different backgrounds working in a variety of languages. Two examples of such recent works are briefly examined in this review: Karla Huebner's monograph Magnetic Woman: Toyen and the Surrealist Erotic and the international exhibition Toyen: The Dreaming Rebel and its accompanying catalog.
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Books on the topic "Erotic art France"

1

Picasso, Pablo. Picasso: The Vollard Suite : Pablo Ruiz Picasso, Spain, France, 1881-1973. Canberra: National Gallery of Australia, 1997.

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2

Avery, Hunt Lynn, ed. Eroticism and the body politic. Baltimore: Johns Hopkins University Press, 1991.

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3

1946-, Varnedoe Kirk, Karmel Pepe, Museum of Modern Art (New York, N.Y.), and High Museum of Art, eds. Picasso: Masterworks from the Museum of Modern Art : an exhibition. New York: Museum of Modern Art, 1997.

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Picasso, Pablo. Picasso: Suite Vollard. Madrid: Editoral de Arte y Ciencia, 1996.

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1937-, Spies Werner, and Art Focus (Zurich Switzerland), eds. Picasso: Retrospektive. Zürich: Art Focus, 2000.

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Picasso, Pablo. Picasso: La formación de un genio 1890-1904 : dibujos del Museu Picasso de Barcelona. Barcelona: Lunwerg, 1997.

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Picasso, Pablo. Picasso: Paisatge interior i exterior. [Madrid]: Electa, 1999.

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Picasso, Pablo. Picasso: Arles, Musée Réattu. Arles: Le Musée, 1986.

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9

Picasso, Pablo. Picasso: Sein Dialog mit der Keramik : Werke aus der Sammlung Marina Picasso. Künzelsau: P. Swiridoff, 1999.

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Picasso, Pablo. Picasso: The development and transformation of an image : stage and progressive proofs, editioned lithographs and variations 1945-49. London: Waddington Graphics, 1986.

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Book chapters on the topic "Erotic art France"

1

Mack, Mehammed Amadeus. "Erotic Solutions for Ethnic Tension: Fantasy, Reality, Pornography." In Sexagon. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274604.003.0006.

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This chapter examine how the French porn industry channels and manipulates tensions and fears related to the immigration debate and the place of Arabs in France, at times offering erotic “remedies.” This has culminated in a new pornotrope: Porno Ethnik, or pornography involving men and women of color, usually Arab or black. The chapter begins with a discussion of the output of French directors who were the first to feature Franco-Arab actors in gay male pornography: Jean-Daniel Cadinot (Cadinot), Jean-Noël René Clair (JNRC), and Stéphane Chibikh (Citébeur). It then considers heterosexual pornography featuring Franco-Arab women and asks whether or not this field of production is so different in its representations of minority sexuality that it precludes comparison with homosexual pornography. Tropes of sex tourism to North Africa, the hypersexualization of single immigrant men, the “eroticization of poverty” as regards both women and men, the veil as striptease, and the “homothug” type are all surveyed. Pornography, often seen as apolitical, does tackle issues of undigested colonial memory and contemporary race relations in a much more forthright (if politically incorrect) way than do the traditional journalistic means available.
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Fouz-Hernández, Santiago. "Boys Interrupted: Sex between Men in Post-Franco Spanish Cinema." In Spanish Erotic Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474400473.003.0014.

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This chapter investigates why so many erotic scenes involving sex between men in contemporary Spanish cinema are often interrupted. While these interruptions are perhaps to be expected in erotic – as opposed to pornographic – films, the frequency and sometimes violence with which they occur is intriguing and troubling. The chapter identifies different strategies of interruption that go from the classic ellipsis with fades to black to literal concealment achieved with distance, poor lighting or visual obstructions such as doors, window blinds or props. In some other cases, other characters enter the scene. These include family members (often female – wives, girlfriends, mothers) but also (often male) strangers that halt the sex act quite suddenly and aggressively mid-way. Importantly, these violent interruptions prevent the kinds of pleasurable identification that are often encouraged in heterosexual erotic scenes, even when the sex act is left to the spectators’ imagination. The study revisits some classic and well-known films by directors including Pedro Almodóvar, Cesc Gay, Eloy de la Iglesia or Gerardo Vera, as well as more recent and lesser-known work including Juanma Carrillo’s short film Fuckbuddies (2011). The analysis of the final case study, Almodóvar’s Los amantes pasajeros/I’m so Excited (2013), suggests that the erotic content of films can sometimes be hidden (and found) in surprisingly conspicuous places.
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Tilburg, Patricia. "Mimi Pinson Goes to War." In Working Girls, 197–235. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841173.003.0006.

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During World War I, the midinettes of Paris suffered unemployment and drastically cut wages; at the same time, they were elevated in wartime ephemera as a nostalgic and erotic image of a France made whole. They were embraced by the press, by government agencies, and by trench soldiers as a soothing counterimage to more troubling female types on the homefront. As a cheerful and desirable national girlfriend, the Parisian garment worker was imagined offering her body, her gaiety, and her inimitable taste to the war effort. Physical intimacy between these women and trench soldiers emerged, particularly in the early years of the war, as a potent fantasy of pre-war wholeness—with the midinette’s body serving as a talisman to ward off violence, defeat, and death. Two patriotic initiatives through Charpentier’s Oeuvre de Mimi Pinson are examined. First, the Cocarde de Mimi Pinson, a campaign by female Parisian needle workers to manufacture tricolor cockades for front soldiers. What began as the spontaneous production of morale-boosting mementos by a group of unemployed garment workers soon expanded to include a government-funded exposition, a shop, an operetta, poems, and several songs. Second, Charpentier created an association to fund and train workingwomen as nurses. Government officials, journalists, and even soldiers applauded garment workers’ patriotic participation under the sign of Mimi Pinson, gay guardian of French taste and the loving and (safely) eroticized national Girlfriend.
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