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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
2
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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Masiero, Valentina <1989>. "Contemporary Love - panoramica sull'arte erotica giapponese contemporanea." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7535.
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L'elaborato si propone di presentare l'arte erotica giapponese contemporanea con l'intento di tracciarne un profilo tecnico e tematico. La ricerca contestualizza lo sviluppo dell'arte erotica a partire dagli shunga di periodo Edo fino i giorni nostri per comprenderne le sfumature, i collegamenti e la simbologia ricorrente, cercando di esplicitare i motivi di tali eventuali riprese, senza tralasciare la componente sociale. L'approfondimento si situa all'interno degli studi artistici e cerca di estrapolare dal calderone della definizione “arte erotica” varie tipologie di produzioni nei sottoinsiemi di fotografia, manga, architettura e danza. L'incipit si occupa di introdurre il lettore al mondo degli shunga e della fruizione di questi ultimi. Il sentiero prosegue poi verso i primi anni del Novecento e profila lo sviluppo delle tecniche artistiche e l'introduzione di nuove tematiche in relazione al cambiamento della figura femminile all'interno della società. Segue poi una terza parte incentrata nelle produzioni di fotografia ed illustrazione dagli anni Sessanta ad oggi, che tratterà nello specifico la simbologia esplicita ed implicita all'interno delle opere. L'indagine approda, infine, all'analisi di alcune collaborazioni fra più campi artistici e sfocia nell'attuale pervasività della “commercializzazione” dei corpi e dei sentimenti.
4
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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Kain, Donna J. "Sexual poetics : erotica and representation of the woman." Honors in the Major Thesis, University of Central Florida, 1992. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/99.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Michael, Christine. "Embodied borders : auto erotica in the writings of Anais Nin." Thesis, Cardiff University, 2006. http://orca.cf.ac.uk/54308/.
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This thesis brings together the two genres for which Nin has become so (in)famous: her autobiography and her erotica in what I have termed 'auto/erotica'. By reading her autobiography and her erotica in and against each other I attempt to explore her development of a feminine aesthetic, or 'womb writing' as a strategy of resistance with which to challenge dominant discourses of 'woman' and the 'feminine', and her exclusion from cultural production. Drawing on the work of Jacques Derrida, Helene Cixous, Luce Irigaray and Julia Kristeva, this thesis explores the role of the border in the cultural production of bodies and sexual difference within Western discourses of sexuality, with particular reference to the discourses of psychoanalysis, modernism and pornography/erotica. My focus is on the trope of the borderline within Nin's texts, which, I argue is less a marker of radical difference than a site of instability offering the possibility of 'other' or 'between' spaces of resistance. This study engages with the politics of gender and genre by drawing on various feminist rewritings of autobiographical theory and Jacques Derrida's 'The Law of Genre' and the Ear of the Other in order to explore the tension between the 'auto' (the selfsame) and the 'graphy' in the formation of the 'bio' and gender identity. I explore how the threat of the other within the selfsame, the tracing of the differance of desire, affects the generic self-identity of 'autobiography' and 'erotica' as representations of (sexual) identity. Nin utilises the radical instability of the autobiographical genre to put into question the 'genre' of gender identity, the gendering of genre and the undecidable border between the 'body' and the 'text', the 'life' and the 'work'. Drawing on various psychoanalytical feminist film theories of the female spectator and the masquerade I explore how Nin performs the 'feminine' or 'woman' of (male) Surrealist and mainstream heterosexual pornography/erotica in order to emphasise the gaps, to hold at a distance, the female from the feminine. The concern of this thesis is the 'ob/scene' margins of 'erotica' and the trace of 'otherness' that threatens the single and self-identical body/text. The 'outworks' or prefaces of Nin's work not only disrupt fixed generic boundaries but also echo the desiring subject's fantasy of gender identity, wholeness and unity. By drawing attention to the role of vision in the constitution of gendered subjectivity and the (re)production of the phallus as the primary signifier of desire, I explore how Nin's erotica undermines a position of phallic certainty by drawing attention to the out-of-sight spaces, of 'ob/scene' pleasures that disturb and disrupt the illusion of 'masculine' phallic mastery. I argue that it is in the 'inter view', this dialogue or movement between (at least) two genres - autobiography and erotica - that other possible representations might be glimpsed.
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Watson, Bruce Wallace. "Androgyny and Dominance: Gender Construction in Anaïs Nin's Erotica Series." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/42182.
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Anaïs Nin's Diary and her fiction have been lauded by critics for their imagery, Freudian allusions, and creativity. What has not been considered, and is equally important, is her Erotica series, Delta of Venus and Little Birds. These books, her most popular, not only address the issues that she covers in her other works, but also ask questions about how humans are gendered, and consider the degree to which individuals construct their own gender identities. In exploring these questions, she presages not only the theorists who effectively deconstruct her message, but also the gender-bending society which inspired them.
Queer theory is particularly effective for considering the sexual messages with which Nin populates her writings. Much as Judith Butler de-emphasizes totalizing gender roles, Nin allows her characters to occupy multiple gender roles. Thus, Nin's female protagonists often take on the sexual positions generally granted to men in American society. Conversely, her male characters are often relegated to less-empowered roles.
Although these shifts might not seem particularly impressive in our more liberated society, they were undoubtedly surprising in Nin's day. Moreover, it is impressive that these role-reversing characters were created over forty years before the advent of queer theory, and long before the popular rise of the Feminist movement.Master of Arts
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Sampaio, Higor Alberto [UNESP]. "O mecanismo sacrificial em Poemas malditos, gozosos e devotos de Hilda Hilst." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/99133.
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sampaio_ha_me_sjrp.pdf: 424248 bytes, checksum: e510be6337cbb550bfd06cb4cb9c2069 (MD5)O objetivo da pesquisa é propor uma leitura de Poemas malditos, gozosos e devotos (1984), de Hilda Hilst, a partir do tema e do paradigma do sacrifício. Segundo Hubert e Mauss (2005), o sacrifício é uma dádiva, um presente, que o homem religioso oferece a seres superiores aos quais lhe convém se ligar. Em todo o sacrifício, um objeto (a vítima) passa do domínio comum ao domínio sagrado. Bataille (1987) estabeleceu uma similitude entre o ato erótico e o sacrificial. O ato amoroso, segundo ele, não desintegra menos o ser que o sacrificante ao imolar sua vítima. O domínio do erotismo torna-se o domínio da violência, da violação. A parte feminina, enquanto vítima, se dissolve e a parte masculina toma o lugar do sacrificador, e ambos se perdem, durante a consumação do ato erótico, numa continuidade estabelecida por um ato que se fundamenta na destruição. Nesse sentido, uma vez que a obra de Hilda Hilst, desde seu surgimento, perscruta o Sagrado (COELHO, 1993), a relação entre erotismo e sacrifício é uma via privilegiada de leitura para essa poesia. Considerando-se o modo de representação do discurso poético hilstiano, que encena o jogo entre eu e tu, a leitura do conjunto evidencia a anulação do sujeito poético, configurando-se como vítima, e a figuração do Outro como grande sacrificador. O tema do sacrifício conteria em si uma possibilidade de elucidação do sentido estético dessa poesia, como a admissão mais radical de sua lógica contraditória, na qual a retórica místico-religiosa convive com o sensualismo mais desbravado. Nesse contexto, os paradoxos sobejam, fazendo comunicar o mais alto e o mais baixo, seja tematicamente, seja linguisticamente
The objective of this reflection is to scrutinize one of the topics dear to Hilda Hilst’s poetic: the representation of the Sacred, in order to establish a knowledge about the construction of the lyrical subjectivity in such poetry. According to Hubert and Mauss (2005), the sacrifice is a gift that religious man offers to the gods. In every sacrifice, an object becomes sacred. Bataille (1987) has established a similarity between the act erotic and the sacrificial. The loving act, according to him, not least disintegrates the being that sacrificer to slay his victim. The field of eroticism becomes the field of violence and violation. The female part, as victim, is dissolved and the male part takes the place of the sacrificer. Since Hilda Hilst’s poetic scrutinizes the Sacred (COELHO, 1993), the relationship between eroticism and sacrifice is a privileged way of reading for this poetry. The theme of sacrifice would contain within itself a possibility of elucidation of aesthetic sense that poetry, such as the admission more radical in its contradictory logic, in which the rhetoric mystical-religious coexists with the sensuality more uncovered. In this context, the paradoxes were stationed, and communicate the ‘highest’ and the ‘lowest’, thematically and linguistically
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Harvey, Karen Louise. "Representations of bodies and sexual difference in eighteenth century English erotica." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267310.
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Tsang, Ka-kin Kevin. "Youth crime in Hong Kong : an analysis of policy instruments /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25140796.
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OLIVEIRA, MANUELA XAVIER DE. "ONE DEADLY EROTICA: NOISES OF THE SUPEREGO IN THE PSYCOANALYTIC TREATMENT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25552@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Uma erótica mortífera: ruídos do supereu na clínica psicanalítica é um estudo da constituição do supereu na teoria psicanalítica e seus desdobramentos na clínica. O supereu que surge na obra freudiana como produto da identificação no declínio do complexo de Édipo, admite traços cruéis em sua parceria com a pulsão de morte. Lacan propõe um supereu equivalente ao objeto a como objeto voz, contribuição de grande novidade para a teoria analítica. Os mandatos superegóicos incidem como uma voz muda, inaudível, e propõem um desafio à clínica, que deve manejar as manifestações deste supereu, tais como o sentimento de culpa, a necessidade de punição e a reação terapêutica negativa. Os paradoxos do supereu serão abordados, privilegiando a face do supereu que é correlata ao gozo, distinguindo-o do Nome-do-Pai, uma função atrelada ao desejo.
One deadly erotica: noises of the superego in the psycoanalytic treatment is a study of the formation of the superego in psychoanalytic theory and its developments in the clinic. The superego, which appears in Freud s work as a product of identification in the decline of the Oedipus complex, admits cruel traits in their partnership with the death drive. Lacan proposes an equivalent object-a with the object-voice, contribution of great novelty for clinical theory. The superego commands levied as a muted voice, inaudible, and propose a challenge to the clinic: to manage the manifestations of this superego, such as guilt, the need for punishment, and negative therapeutic reaction. The paradoxes of the superego are addressed, focusing on the face of the superego that is related to the jouissance, distinguishing it from the Name-of-the-Father - a function harnessed to desire.
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Ferreira, Marcela Roberta Ferraro. "Os desdobramentos de Salome : leitura da poesia erotica de Gilka Machado." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270087.
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Orientador: Maria Eugenia BoaventuraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Considerando que a arte e a literatura produziram várias formas de conceber a imagem do feminino, vamos acompanhar como Gilka Machado apresenta a sua versão. Era comum, nesse fim de século XIX e primeiras décadas do século XX, que predominasse a visão masculina ditando especialmente um ideário delineador de uma beleza extraordinária na pele de suas perigosas heroínas. Assim, pode-se dizer que a personagem se fazia sobretudo no olho do homem que comandava a pena. Com Gilka, temos a atuação de uma autoria feminina dando seu toque pessoal à composição. Escolhemos acompanhar os desdobramentos do mito literário de Salomé, eleita como musa da poesia do amor, acreditando que as intervenções da autora correspondem ao propósito de assumir a busca pela construção de uma identidade sensual num momento em que não era dado à mulher tratar desses assuntos. Dotada de sensualidade, Salomé desata seus véus para revelar ou sugerir os mistérios da sexualidade feminina, de tal modo que pode ser tomada como uma personagem-chave para o desenvolvimento da poética do erotismo. Identificando-se com ela, a poeta não vai reproduzir os costumeiros opróbrios que os temerosos apaixonados lançaram sobre a bailarina, mesmo porque, parece pouco conveniente reforçar a execração, quando se espera tornar aceitável o comportamento mais liberal da mulher. Como ameniza o satanismo da musa, Gilka opera mudanças nos arquétipos literários fixados pelo decadentismo, de modo que sua poesia entra em conflito com as convenções literárias perfazendo um movimento de alianças e embates com a tradição. Levando em conta essas questões fundamentais, apresentamos uma leitura da poesia erótica de Gilka Machado em que se procura sentir os efeitos de uma especial sensibilidade feminina
Abstract: Taking into consideration that Art and Literature produced various ways of conceiving the image of the feminility, we will present how Gilka Machado develops her version. At the end of the nineteenth century and in the first decades of the twentieth century, the predominance of a masculine point of view was very common, ruling a limiting ideology of extraordinary beauty of dangerous heroines. So, we can say that the character was created with the view of the man who commanded the penci!. In Gilka, we have a feminine influence, which gives the text a personal touch. We will follow the development of the literary myth in Salomé, a muse of the poetry of love; believing that the author's interventions correspond to the purpose for the searching of a sensual identity, in a moment when women were not given the right to deal with such subjects. FuIl of sensuality, Salomé unveils herself to reveal or suggest the mystery of the feminine sexuality, in a way in which she becomes the key character for the development of the poetry of eroticism. Identifying herself with the character, Gilka would not reproduce the conventional idea of a dangerous seducer that dreadfullovers make of her, even because it seems rather convenient to strengthen the outrage, when it is expected that a more liberal behavior of the women would be well accepted. By smoothing over the satanism of the muse, Gilka makes changes in the literary archetypes established by the decadenceness, in a way that her poetry creates an antagonism with the literary conventions concluding to a movement of alliances and conflicts with the traditional modes. By considering these fundamental topics, we will present a reading of the erotic poetry in Gilka Machado, in a moment in which the effects of a special feminine sensibility come out
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
13
Peakman, Julie. "Cultural, scientific and religious influences in eighteenth-century erotica, c.1680-1839." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271448.
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Leal, Tacel Coutinho. "Daring art." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/89077.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura CorrespondenteMade available in DSpace on 2012-10-22T16:31:19Z (GMT). No. of bitstreams: 1 227233.pdf: 1394110 bytes, checksum: 8c1a9129f3f6922e8c73ee84e6eb26fc (MD5)
As representações eróticas são o foco principal deste estudo. Mais especificamente, esta pesquisa tem por interesse a análise de representações eróticas que desafiem imagens patriarcais que advoguem a dominação e a hierarquia como atributos naturais das relações amorosas. Para tanto, este trabalho propõe uma investigação das obras "Calamus," de Walt Whitman, e "Twenty-One Love Poems," de Adrienne Rich, como uma maneira de interrogar as limitações do erotismo dito "mainstream." O corpus desta pesquisa é formado por obras de poetas e filósofos renomados como Platão, Octavio Paz e Georges Bataille - teóricos que discutiram extensivamente a questão do erótico - e por estudiosos de destaque nas áreas de feminismo, "gay and lesbian studies" e "queer studies", tais como Teresa de Lauretis, Ellen Greene, Catherine Belsey, Liz Yorke, Audre Lorde, Robert K. Martin, Jay Grossman e Greg Woods, entre outros. Este estudo demonstra que Whitman e Rich não apenas questionaram todo um sistema de representações eróticas patriarcais e excludentes, mas também propuseram uma estratégia política que é fruto de um erotismo desafiador e democrático.
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Healey, Karen. ""Empowered Erotica"? : Objectification and Subjectivity in the Online Personal Journals of the Suicide Girls." Thesis, University of Canterbury. Culture, Literature and Society, 2005. http://hdl.handle.net/10092/1852.
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SuicideGirls.com, an "alternative" softcore pornographic website, claims it presents
"empowered erotica". It claims that it provides a voice for its models through the
establishment of personal online journals alongside the photosets of the models. In so
doing, the website presents an apparently contradictory juxtaposition between two
common forms of representation of the female; the objectified female body and the
subjective female psyche. This thesis textually analyses selections from the personal
online journals of the SuicideGirls.com models in order to examine how the resulting
tensions between the apparently binarily opposed categories of female object and female
subject are negotiated on the website.
In particular, this thesis concentrates on SuicideGirls.com's attempts to situate
itself as representing "alternative" youth subcultural groups, such as punk and goth, and
examines its actual business practices as compared to its feminist rhetoric. This thesis
argues that SuicideGirls.com does not provide "empowered erotica" and a genuine
attempt to combat the narrow mainstream aesthetic of the beautiful female through its
"alternative", "anti-mainstream" stance. Instead, it finds that SuicideGirls.com
commodifies the image of the female body, standardises "alternative" style as a "lifestyle
brand" and writes its models as commercial objects of desire, all while it hypocritically
claims "alternative" empowerment.
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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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Sampaio, Higor Alberto. "O mecanismo sacrificial em Poemas malditos, gozosos e devotos de Hilda Hilst /." São José do Rio Preto, 2013. http://hdl.handle.net/11449/99133.
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Orientador: Susanna BusatoBanca: Diana Martha Junkes Toneto
Banca: Antonio Donizeti Pires
Resumo: O objetivo da pesquisa é propor uma leitura de Poemas malditos, gozosos e devotos (1984), de Hilda Hilst, a partir do tema e do paradigma do sacrifício. Segundo Hubert e Mauss (2005), o sacrifício é uma dádiva, um presente, que o homem religioso oferece a seres superiores aos quais lhe convém se ligar. Em todo o sacrifício, um objeto (a vítima) passa do domínio comum ao domínio sagrado. Bataille (1987) estabeleceu uma similitude entre o ato erótico e o sacrificial. O ato amoroso, segundo ele, não desintegra menos o ser que o sacrificante ao imolar sua vítima. O domínio do erotismo torna-se o domínio da violência, da violação. A parte feminina, enquanto vítima, se dissolve e a parte masculina toma o lugar do sacrificador, e ambos se perdem, durante a consumação do ato erótico, numa continuidade estabelecida por um ato que se fundamenta na destruição. Nesse sentido, uma vez que a obra de Hilda Hilst, desde seu surgimento, perscruta o Sagrado (COELHO, 1993), a relação entre erotismo e sacrifício é uma via privilegiada de leitura para essa poesia. Considerando-se o modo de representação do discurso poético hilstiano, que encena o jogo entre eu e tu, a leitura do conjunto evidencia a anulação do sujeito poético, configurando-se como vítima, e a figuração do Outro como grande sacrificador. O tema do sacrifício conteria em si uma possibilidade de elucidação do sentido estético dessa poesia, como a admissão mais radical de sua lógica contraditória, na qual a retórica místico-religiosa convive com o sensualismo mais desbravado. Nesse contexto, os paradoxos sobejam, fazendo comunicar o mais alto e o mais baixo, seja tematicamente, seja linguisticamente
Abstract: The objective of this reflection is to scrutinize one of the topics dear to Hilda Hilst's poetic: the representation of the Sacred, in order to establish a knowledge about the construction of the lyrical subjectivity in such poetry. According to Hubert and Mauss (2005), the sacrifice is a gift that religious man offers to the gods. In every sacrifice, an object becomes sacred. Bataille (1987) has established a similarity between the act erotic and the sacrificial. The loving act, according to him, not least disintegrates the being that sacrificer to slay his victim. The field of eroticism becomes the field of violence and violation. The female part, as victim, is dissolved and the male part takes the place of the sacrificer. Since Hilda Hilst's poetic scrutinizes the Sacred (COELHO, 1993), the relationship between eroticism and sacrifice is a privileged way of reading for this poetry. The theme of sacrifice would contain within itself a possibility of elucidation of aesthetic sense that poetry, such as the admission more radical in its contradictory logic, in which the rhetoric mystical-religious coexists with the sensuality more uncovered. In this context, the paradoxes were stationed, and communicate the 'highest' and the 'lowest', thematically and linguistically
Mestre
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Eshghi, Shirin. "Female authorship and implicit power in women's erotica : Japanese "ladies' comics" and Fifty Shades of Grey." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43745.
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Can female readers perceive empowerment through sexually explicit, fictional stories that feature depictions of misogynistic relationships or encounters? In this thesis, I will attempt to answer this question by examining English- and Japanese-language examples of sexual writing for women, specifically the genre of women’s erotica (erotic fiction for a female audience).
I will describe how women’s erotica in both languages is predominantly populated by female authors, and will argue that this allows readers to perceive sexual empowerment even when encountering storylines that feature female protagonists disempowered by male characters. The knowledge that the author is a woman perpetuates a belief on the side of the reader that the female protagonist is safe, and that she will enjoy the sexual acts that take place within the story.
To illustrate this point, I will compare the recently-published Fifty Shades of Grey with Toraware no yoru (Captive night), a 1990s example of “ladies’ comics” (sexually explicit Japanese manga created for a female readership), which was re-published in e-format in 2009. I will demonstrate how the female sex of the authors enables readers to feel in control and empowered despite the often submissive role of the stories’ protagonists. I will also argue that both works have been marketed and framed in a manner that alludes to Japanese- and English-language autobiographical sexual writing that developed from the early 20th Century. I will establish how the confessional nature of these works helped construct a shared reality between reader and author in regards to sex and womanhood.
The solicitation of stories from ladies’ comics readers and the emergence of Fifty Shades of Grey from the fan fiction community re-enforces the perception of a women-only space where text is influenced solely by a dialogue between female author and female reader. Although this female-centred space may in itself be a source of empowerment, the sustainability of such a space is precarious in the virtual environment, where the gender of author and reader cannot be guaranteed.
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Trevizam, Matheus. "A elegia erotica romana e a tradição didascalica como matrizes compositivas da Ars amatoria de Ovidio." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271115.
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Orientador: Paulo Sergio de VasconcellosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho pretende determinar em que medida Ovídio se apropriou de elementos poéticos/ discursivos originalmente integrantes dos universos da elegia erótica romana e da poesia didática greco-Latina para a composição de sua Ars amatoria. Como se sabe, para a feitura dessa obra, o autor procedeu a uma espécie de mescla de certos recursos originalmente integrantes das duas tradições poéticas mencionadas, "negociando" com ambas a fim de produzir um texto marcado por suas próprias opções artísticas. Ao proceder assim, devemos ressaltar que se manteve fiel a um dos princípios mais característicos de seu modo de diálogo com a tradição clássica, relacionado justamente à experimentação no desenvolvimento de formas expressivas tributárias dos autores do passado, reelaboradas, porém, por sua inventividade. Concomitantemente a tal estudo, fez-se a tradução integral (em prosa e acrescida de notas explicativas) da Ars amatoria
Abstract: The aim of this work is to determine how Ovid has employed some poetical/ discursive elements originally found in Roman erotic elegy and in the Graeco-Roman didactic poetry for the composition of his Ars amatoria. As it is recognized, the poet has in a certain way mixed the elements of both poetical traditions mentioned, using them in order to produce a text (the Ars) marked by his own artistic options. Behaving like this, we must emphasize that he remained loyal to one of his most characteristic procedures as a writer who dialogues with the Classical tradition: this procedure is exact1y related to experimentation in the development of expressive forms which own much to past authors, but were renewed by the poet's ability. Simultaneously, we have translated the whole of the Latin text (as a prose work and with explanatory notes) of the Ars amatoria
Mestrado
Letras Classicas
Mestre em Linguística
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Serrato, Jennifer Paola Umaña. "Configuração erótica e infernal das cidades no romance noir latino-americano : o caso de México, Colômbia e Brasil." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/47348.
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Orientadora : Profa. Dra. Isabel JasinskiTese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 27/04/2017
Inclui referências : f. 376-384
Área de concentração : Estudos literários
Resumo: A cidade "moderna" (representada claramente nos romances noir e policiais) criou múltiplas metáforas da exacerbação, do terror e da exclusão na literatura latinoamericana. Instaurou-se como protagonista em inúmeras obras, definindo espaços de relação e construção de sentido, através da configuração da periferia, da prostituição, do travestismo, da disseminação de territórios em ilhas urbanas (LUDMER, 2010). Uma propriedade intensificada pela mudança de paradigmas característica do romance latinoamericano no século XXI, em que não predominam modelos estéticos nem a busca pela identidade, mas delineiam-se singularidades e trivialidades no tratamento dessa realidade (FORNET, 2006). Os narradores e personagens não se apresentam como bardos de denúncias sociais, mas como experimentadores do turbilhão urbano em conflito, impreciso, imprevisível. A cidade dos romances noir atuais possibilita a criação de linhas de fuga do sistema através da infernalidade e o erotismo, na medida em que a degradação, o horror e a violência aumentam e definem relações humanas na contemporaneidade. Ao profanar o sagrado (AGAMBEN, 2005), representado pelo corpo do outro e pelo seu espaço de existência, destituem-se hierarquias, o delírio promove a possibilidade de violação e dá vazão ao desejo insaciável, à destruição e à morte. Palavras-chave: Romance noir, cidade, erotismo, infernalidade, morte, marginalidade, degradação, violência.
Abstract: The "modern" city (represented clearly in the noir and police novels) has created multiple metaphors of exacerbation, terror and exclusion in Latin American literature. It had a lead role in numerous works, defining spaces of relation and construction of meaning, through the configuration of the periphery, prostitution, transvestism and the spread of territories in urban islands (LUDMER, 2010). A feature intensified by the paradigm shift representative of the Latin American novel in the 21st century, where neither aesthetic models predominate nor the search for identity, but singularities and trivia were delineated in the treatment of that reality (FORNET, 2006). The narrators and characters do not present themselves as bards of social denunciations, but as experimenters of the urban whirlwind in conflict, imprecise, unpredictable. The city of today's noir novels make possible to create lines of escape from the system through infernality and eroticism, as degradation, horror, and violence increase and define human relations in contemporary times. By desecrating the sacred (AGAMBEN, 2005), represented by the body of the other and its space of existence, hierarchies are dismissed, delirium promotes the possibility of violation and gives vent to insatiable desire, destruction and death. Keywords: Romance noir, city, eroticism, infernality, death, marginality, degradation, violence.
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Smaniotto, Adriano da Rosa. "Uma possível cartografia poética." reponame:Repositório Institucional da UFPR, 2013. http://hdl.handle.net/1884/29749.
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Resumo: Esta dissertação intenta analisar a poesia paranaense presente nas Antologias publicadas por ocasião da realização do Concurso Helena Kolody, entre os anos de 1990 e 1995. Para realizar a análise, primeiro foram percebidos os tipos de poesia em cada Antologia, para depois serem demarcados "territórios" comuns ou próximos, compondo uma cartografia poética. Para suplantar a análise foram necessárias concepções teóricas sobre a poesia de 1990, em especial as abordagens dos professores Benedito Nunes e Heloísa Buarque de Hollanda, além de Michael Hamburguer, Alfonso Berardinelli, Gaston Bachelard e Pierre Bourdieu. Após serem observadas quais linhas de composição tinham prioridade em cada Antologia, além da particularidade de cada Concurso, intentou-se estabelecer uma comparação com autores que publicaram em outras regiões no mesmo período para que se pudessem perceber parâmetros comuns. Outra reflexão, surgida com a análise, foi a percepção da importância do Concurso como incentivador e também regulador da prática poética no Estado. Nesse sentido, foram analisados quatro autores que estiveram presentes nas Antologias e continuaram publicando na década seguinte. Apesar da dificuldade de demarcarem-se "territórios" fixos, percebe-se que há algumas linhas de contorno mais visíveis como a poesia visual, a epigramática, a poesia do fragmento, a poesia homoerótica, a poesia neorretórica e a metapoesia. Também se notam alguns "territórios" mistos, mas com menor frequência. Estas reflexões permitiram perceber o quanto a poesia feita em Curitiba - ao menos a presente nas Antologias - está próxima da poesia dos anos 1990 e o quanto o Concurso, neste sentido, colaborou para que tal prática ocorresse, pois ajudou a medir e a difundir a prática poética.
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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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Mendes, Marcos. "Exílio e erotismo no Retrato de la Lozana andaluza e em suas recriações." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106898.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.Made available in DSpace on 2013-12-05T22:40:43Z (GMT). No. of bitstreams: 1 321670.pdf: 4887071 bytes, checksum: 0366a57d147f547dffa7d0a4517f99e4 (MD5) Previous issue date: 2013
Este trabalho aborda algumas questões acerca do livro Retrato de la Lozana andaluza, de Francisco Delicado. Primeiro há uma análise de duas recriações do Retrato para outros contextos e em diferentes linguagens: o filme La Lozana andaluza (1974), de Vicente Escrivá e a peça teatral La Lozana andaluza (1963) de Rafael Alberti, seguido de um estudo complementar sobre a fragmentação das formas no Retrato e em outros autores, como Pietro Aretino, Bertolt Brecht e Giuseppe Arcimboldo. Na sequência trato da relação entre erotismo, religião, inquisição, feitiçaria, trabalho e prostituição, para estabelecer a relação destes conceitos entre si no Retrato e também o que se percebe presente nas recriações de Escrivá e de Alberti. Finalmente, problematizo o conceito de exílio tomando por base suas manifestações no Retrato, através de uma revisita ao conceito tradicional de exílio.
Abstract : This paper addresses some questions about the book Retrato de la Lozana andaluza, by Francisco Delicado. First there is an analysis of two recreations of Retrato to other contexts and in different languages: the film La Lozana Andaluza (1974), by Vicente Escrivá and theater play La Lozana Andaluza (1963) by Rafael Alberti, followed by an additional study on the fragmentation of form in Retrato and other authors like Pietro Aretino, Bertolt Brecht and Giuseppe Arcimboldo. Further on, I work with the relationship between eroticism, religion, inquisition, witchcraft, work and prostitution, to establish the relationship of these concepts with Retrato and also how they can be seen as present in the recreations by Escrivá and Alberti. Finally, I problematize the concept of exile on the basis its manifestations in Retrato, through revisiting the traditional concept of exile.
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Limas, Louisy de. "La petite mort." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/129337.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2014.Made available in DSpace on 2015-02-05T20:58:19Z (GMT). No. of bitstreams: 1 328194.pdf: 2334530 bytes, checksum: e58ae5aace9a49a1a4f822a3af789694 (MD5) Previous issue date: 2014
Existe um jogo de transgressão das interdições, e se trata de um jogo violento. "Essencialmente o campo do erotismo é o campo da violência".1 Acontece uma violação no ser fechado e distinto, separado na sua descontinuidade. Desprende-se de seu estado cotidiano, no mundo social e profano do trabalho, para entrar numa abertura de continuidade profunda, perdendo-se de si mesmo. La Petite Mort é como os franceses chamam o ápice erótico. Morro de não morrer. A questão que colocamos não é sobre uma vida no além, mas um mais além de vida. Não uma morte absoluta, se trata de uma pequena morte. Para Bataille, na pequena morte erótica se experimenta o impossível. Para Lacan é na morte simbólica que se encontra o real. A mesma experiência de ruptura atravessa os dois autores: o gozo. Não a morte do corpo, da carne, mas a morte do sujeito na dissolução das ilusões de um eu que se constitui como unidade. Encontramos no erotismo uma experiência de morte. Se gozar não é morrer seria, então, repetir uma morte que não nos matou?
Abstract : There is a game of transgressing prohibitions, and it is a violent game. "Essentially the field of eroticism is the field of violence". An infraction against the closed and distinctive human being, separated from its discontinuity, detaching himself from his everyday state in the social and profane world of work, to enter into a gap of deep continuity, losing himself . La Petite Mort is how the French call the erotic climax. I die by not dying! The question is not about a life hereafter, but life beyond. There is no absolute death, just a little death. For Bataille in small erotic death we experience the impossible. For Lacan it is in the symbolic death that we find realness. The same experience breaks through both of them : sexual rapture. Not the death of the body, the flesh, but the death of the individual by dissolving the illusions of a self unit. We find eroticism in a death experience. If sexual rapture is not dying, would it then repeat a death that did not kill us?
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Beaman, Jade. ""Feminist fairytales? : discussing 'erotica' in reference to Linda Jaivin's Eat me and Rock 'n' roll babes from outer space" /." Title page and conclusion only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arb368.pdf.
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Blessin, Joseph Richard. "'Scientist Sade' and discovery in the High Enlightenment." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/12263.
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Sade has had many titles over the centuries. He was ‘Marquis’, a noblesse d’épée, sitting in his château atop Lacoste; ‘Wolf-man’, on the run from the authorities, a cause célèbre for his notorious sexual adventures; ‘Citizen’, a turncoat royalist, a functionary within the bureaucracy of the new French Assembly, eulogizer of the revolutionary heroes, Marat and Le Pelletier; and ‘Divine’, a patron saint of Romantic poets like Flaubert and Baudelaire, and later, the same for the Surrealists. Sade has yet to be given the name: ‘Scientist’. In my dissertation I lay out the ground work for defending this choice of designation by situating Sade and a sampling of his works within a defining period in the history of the object of scientific inquiry: from the eve of the 1789 French Revolution until its dénouement following the death of Robespierre. The three works of focus are Les 120 Journées (1785), Aline et Valcour, ou le Roman philosophique (1795) and La Philosophie dans le Boudoir (1795); and each one is strategically selected to bring to light singular events, marking important changes in humankind’s relationship with the natural world. This intense focus on Sade magnifies many times over the position Foucault had already assigned him in Les Mots et les chose (1966) when, in offering his own version of the evolution of the object of scientific inquiry from the Classical to the Modern Age, he isolates Sade as a heuristic bridge linking the two eras of his focus, using Sade’s erotic novels Justine (1791) and Juliette (1797) to support his argument. However overly pithy Foucault’s application of Sade may have been, it is felt that he lays a sufficient groundwork, one that I take up in my dissertation and push to even further depths. More than simply conforming to Foucault’s employment of Sade as the “midwife” to Modern science, I do two things of notable difference: 1) I take up the challenge Foucault set in the “Foreword to the English Edition” of Les Mots et les chose when he professes “embarrassment” over not being able to account for how “[…] instruments, techniques, institutions…” (p. xiii) of empirical sciences came to match in complexity those individuals and societies that would come to use them. On the one side, Foucault expresses a clear limitation; on the other, he offers up what he believes is half of what it takes to get at this limitation: “I left the problem of cause to one side. I chose instead to confine myself to describing the transformation themselves, thinking that this would be an indispensable step if, one day, a theory of scientific change and epistemological causality was to be constructed” (p. xiv). This dissertation offers up a heuristic framework to account for the relationship between both these sides Foucault can only adumbrate: the side of an emergent scientific knowledge and the ontological status of the producers of this knowledge. 2) I position Sade as a representative of an older scientific tradition, one overshadowed in Foucault’s emphasis on Sade and Modern science. Since Iwan Bloch compared Les 120 Journées to Psychopathia Sexualis, Richard von Krafft-Ebing’s 1886 manual of sexology, dedicated to documenting qualitatively all possible sexual deviancies in human behavior, most readings of Sade in the History of Science have taken him to be on the modern most end of the timeline of the History of Science (Foucault, 1966; Harari and Pellegrin, 1973; Morris, 1990; Vila, 1998; Polat, 2000; Quinlan, 2006; Quinlan, 2013). Some writers in recent years, however, have had the acuity to highlight older scientific influences on Sade’s oeuvre. Armelle St-Martin is one such example, who has written extensively on the influence of Italian science on Sade. Such a focus is a departure from a trend that sees English empiricism defining the scientific mindset in France that, it is believed, would have influenced Sade’s ideas. This would have included the “spirit of exactitude and method” (p. 91) D’Alembert (1751) speaks of in his panegyrics of Bacon, Locke and Newton in Discours préliminaire de l’Encyclopédie de Diderot or Voltaire’s popularization (1763) of all things English in Dictionnaire philosophique. The legacies of both these perspectives have weighed heavily on Caroline Warman’s reading of Sade, who sees him (2002) through a more “positive” prism of “sensationist materialism” in Sade: from materialism to pornography. St- Martin sees Sade’s scientific orientation directed rather towards much older and ulterior forms of scientific “objects”, ones much less “positive”. Casamaggi and St-Martin see pneumatological themes like miasmas and corruptions in Histoire de Juliette, arriving from Sade’s own explorations in such places as amongst the swamps and famously licentious denizen of Venice, the namesake for that special contagion: “maladies vénériennes”. Both these departures from Foucault’s conceptualization imply the need to articulate what I call a “negative” trajectory within the History of Science. This term plays an important part in how I engage with Sade and his contemporaries and its explication constitutes a significant aim throughout the course of my dissertation. Sade’s own inquiry into the object of scientific inquiry came at a time of great upheaval and he relied on one approach hitherto capable of articulating such “negativity”: metaphysics. The very notion of metaphysics was anathema for many, such as D’Alembert who even labeled it a despicable science in the relevant entry in L’encyclopédie de Diderot. This dissertation will situate Sade within this battle over the future of science in what was that all crucial period of history when the die was cast in favor of Modern science and its penchant for “positivity”; the period of the French Revolution.
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Camargo, Lucio Martins de 1968. "O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.
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Orientador: Stephane Remy Georges MalysseDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios
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Ratcliffe, G. Cole. "The use of sexually explicit material in sex therapy." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/8628.
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Master of ScienceDepartment of Family Studies and Human Services
Jared R. Anderson
Using data from a sample of 99 sex therapists in the United States who participated in an online survey, the use of sexually explicit material (SEM) in sex therapy is explored. Findings suggest that prevalence rates for the use of sexually explicit educational material and erotica in sex therapy were very high, 92.6% and 81.1% respectively; while the use of pornography was much lower at 29.5%. Younger therapists, and therapists with less experience, were more likely than older therapists and therapists with more experience to use SEM in sex therapy. Overall, sex therapists were generally comfortable with sexually explicit educational material and erotica but less comfortable with pornography. Younger therapists and/or female therapists were most comfortable with the use of pornography in sex therapy. The primary theoretical rationale reported by sex therapists for using SEM was education. Several therapists indicated that they would not recommend the use of SEM in sex therapy with clients who expressed opposition or discomfort, clients who exhibit compulsive sexual behaviors, and with clients who have a history of sexual trauma.
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Santos, Fernanda Cássia dos. "A construção das masculinidades no discurso médico e nos romances para homens (1885-1923)." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27754.
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Resumo: O objetivo deste trabalho de pesquisa é compreender o modo como ocorreu a construção das
masculinidades no Brasil na passagem do século XIX para o XX. Para tanto, utilizou-se como
fontes os chamados “romances para homens”, publicações de caráter erótico que se
difundiram nesse contexto, e a tese médica Educação sexual do brasileiro em face do
vultuoso problema da grandesa da Pátria, de Felippe de Sousa Miranda. As relações
estabelecidas entre literatura e discurso médico levam em consideração o caráter intertextual
desses discursos, que dialogam em sentidos múltiplos. Apesar do estatuto diferenciado que
lhes é conferido, os dois tipos de texto, ao abordarem a questão dos limites para a vivência da
sexualidade masculina, contribuíram para o forjamento de um ideal de masculinidade. Ao
mesmo tempo, essas produções discorreram a respeito das mulheres, dos homens negros e
homossexuais, construindo hierarquias de gênero que são investigadas na pesquisa numa
abordagem atenta às intersecções existentes entre raça, classe, gênero e sexualidade.
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曾家健 and Ka-kin Kevin Tsang. "Youth crime in Hong Kong: an analysis of policy instruments." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31967024.
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Silva, Wesley Francisco de Souza. "Elementos de erotismo e sexualidade nas cantigas de escárnio e de maldizer galego-portuguesas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-18112010-093256/.
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A sexualidade é uma atividade cultural que, desde antiguidade, provoca interesse ao homem, influenciando sua evolução no decorrer da História. Presente no Amor, no Desejo, no Erotismo, na Pornografia, além de em outras manifestações sociais, o sexo é registrado nas mais variadas formas de comunicação. Hoje, podemos notá-lo em textos escritos e falados em imagens comerciais e preventivas, nas falas, nas atitudes, muitas vezes de forma explícita e outras, de forma sugerida. Em diferentes culturas e momentos históricos a sexualidade é registrada tão logo haja possibilidade de fazê-lo. As cantigas medievais galego-portuguesas estão entre os primeiros registros literários e históricos que consideraram a sexualidade, em seus escritos, como comportamento da sociedade ibérica dos séculos XIII e XIV. Elas eram classificadas em três principais gêneros: cantigas de amor, cantigas de amigo e cantigas de escárnio e maldizer, sendo que este último apresentava um vinculo maior com a realidade, em detrimento dos primeiros, que se voltavam mais para o imaginário. Este trabalho estuda, portanto, os registros que as cantigas medievais de escárnio e maldizer dos cancioneiros galego-portugueses fizeram sobre os comportamentos sexuais da sociedade ibérica dos séculos XIII e XIV. Através de 21 cantigas selecionadas da edição critica feita por Manuel Rodrigues Lapa (1970), é possível conferir atitudes sexuais que estão pouco envolvidas com o sentimento amoroso, privilegiando o desejo físico. Diversos foram os recursos expressivos empregados pelos trovadores que vislumbraram a possibilidade de registrar os comportamentos libidinosos vinculados a diversos outros contextos. As palavras, é possível constatar, receberam diferentes conotações, através da malícia. Para melhor entender a sexualidade dos cantares, este trabalho apresenta uma paráfrase e comentários sobre o tema em cada motz, além de um pequeno glossário com o sentido sexual dos principais temas encontrados no material estudado, ressaltando a importância cultural das cantigas.Sexuality is a cultural activity which, since antiquity, causes concern for man, influencing its development throughout history. Present in Love, and Desire in the Erotica, Pornography, and other social events, sex is recorded in various forms of communication. Today, we can notice it in written and spoken in commercial imaging and preventive, language, attitudes, often explicitly and others, so suggested. In different cultures and historical moments sexuality is registered as soon as its possible to do so. The songs of the medieval Galician-Portuguese are among the first literary and historical records that consider sexuality in his writings, such as a behavior of Iberian society of the thirteenth and fourteenth centuries. They were classified into three main genres: love songs, ballads and songs of a friend of mockery and cursing, but the latter had a greater bond with reality, in spite of the first, which turned more to the imagination. This work studies, therefore, the records that the medieval songs of mockery and cursing songbooks of Galician-Portuguese made about the sexual behavior of Iberian society of the thirteenth and fourteenth centuries. Through 21 songs selected from the critical edition made by Manuel Rodrigues Lapa (1970), it is possible to give sexual attitudes that are little concerned with the feeling of love, focusing on physical desire. Several significant resources were employed by the troubadours who saw the possibility of registering the libidinous behavior linked to several other contexts. The words, as it can be seen, were given different connotations by malice. To comprehend better the sexuality of the songs, this work presents a paraphrase and comments about the topic in each \"motz\" besides of a short glossary of the sexual sense of the major themes found in the studied material, emphasizing the cultural importance of the songs.
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McIntosh, Aaron. "An Indecent Obsession." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2127.
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The title of my thesis is appropriately borrowed from a romance novel title, as my work proposes to mine the content, design and culture of romance novels and other erotic texts in order to excavate my own queer romance narrative. The body of work includes large-scale drawings of “stand-in boyfriends” stolen from romance novel covers, pieced fabric text works based on the titles of erotic texts, and a couch covered in erotic reading material. Drawing attention to the ubiquity of heterosexualized images and texts by deconstructing them, my work critically questions larger social constructions of normality and deviance, pleasure and disturbance, and high and low culture, as they pertain to ideas of love, romance and sexuality.
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Viljoen, Estella. "From Manet to GQ a critical investigation of "gentleman's pornography" /." Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-03122004-082238.
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Häggström-Nordin, Elisabet. "Worlds apart? : sexual behaviour, contraceptive use, and pornography consumption among young women and men /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4779.
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Cummins, Rodney John Travers, and edu au jillj@deakin edu au mikewood@deakin edu au wildol@deakin edu au kimg@deakin. "Australian Perceptions of the Orient 1880-1910." Deakin University. School of Australian and International Studies, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040622.180047.
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Hawley, Elizabeth Haven. "American Publishers of Indecent Books, 1840-1890." Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/7579.
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American publishers of indecent books from 1840 to 1890 were not outsiders to the printing trades. They should be seen instead as entrepreneurs whose technological practices and business strategies were largely representative of the diversity within American publishing. Books prohibited or later destroyed because of their content survived in a relatively wide variety of forms in the hands of rare book collectors,
making such artifacts perhaps even more important for the study of industrial practices than literary works collected in greater numbers by research institutions. Those rare artifacts make available long-lost details about the men and women who manufactured print at the boundaries of social propriety, the production technologies they employed, and the place of difficult-to-research publishers in the American book trades. Conservation, papermaking, illustrations, printing, and typefounding are as important to the history of American erotica as the more famous prosecutions led by Anthony Comstock.
Focusing on works considered indecent by the nineteenth-century bibliographer Henry Spencer Ashbee, this dissertation integrates the political economy of print with an analysis of the material forms of semi-erotic and obscene books. Surviving artifacts offer evidence about regional production styles and the ways that fiber selection, and particularly the use of straw in low-quality papers, influenced the prevalence of yellow wrappers for ephemeral works. Printer skill levels and capitalization can sometimes be determined through the presence of gripper marks on printed sheets. Reconstructing and contextualizing the technological practices of these publishers can create new tools for bibliographical analysis, an accessible source of information about technical processes for general historians, and a wealth of data about publishers such as William Berry, whose role in networks of erotica in nineteenth-century America has only recently begun to be appreciated.
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Da, Silva Jose. "Fault Lines: Queer Skinheads and Gay Male Subjectivity in the Film Praxis of Bruce LaBruce." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15836/1/Jose_Da_Silva_Thesis.pdf.
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Fault Lines positions a theory of gay male subjectivity as it relates to the Queer skinhead and its dissemination in gay male pornography. In narrating the transformation of the original skinhead as a subcultural youth type to its present re-signification as a fetish and sexual identity within gay male subculture, Fault Lines reveals a tripartite problem of fetishism, sadomasochism and fascism. Through an analysis of Bruce LaBruce's film Skin Gang / Skin Flick (1999) these problems are contextualised within a discourse of gay male pornography, broadening the investigation to consider how problems of masculinity, violence and race manifest within a distinctly gay male sexual imaginary. Examining the representational function of the Queer skinhead, Fault Lines seeks to speculate on how notions of a gay male subject and subjectivity can be established at the intersection of an aesthetic, political and social experience.
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Da, Silva Jose. "Fault Lines: Queer Skinheads and Gay Male Subjectivity in the Film Praxis of Bruce LaBruce." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15836/.
Full textAbstract:
Fault Lines positions a theory of gay male subjectivity as it relates to the Queer skinhead and its dissemination in gay male pornography. In narrating the transformation of the original skinhead as a subcultural youth type to its present re-signification as a fetish and sexual identity within gay male subculture, Fault Lines reveals a tripartite problem of fetishism, sadomasochism and fascism. Through an analysis of Bruce LaBruce's film Skin Gang / Skin Flick (1999) these problems are contextualised within a discourse of gay male pornography, broadening the investigation to consider how problems of masculinity, violence and race manifest within a distinctly gay male sexual imaginary. Examining the representational function of the Queer skinhead, Fault Lines seeks to speculate on how notions of a gay male subject and subjectivity can be established at the intersection of an aesthetic, political and social experience.
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Tomaz, Rogério. "Nelson Rodrigues." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/28447.
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Косюк, Оксана Михайлівна, and Oksana M. Kosiuk. "Розважальна функція електронних засобів масової комунікації: світовий контекст та національні особливості." Diss., Львівський національний університет імені Івана Франка, 2006. http://evnuir.vnu.edu.ua/handle/123456789/10481.
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For the first time the attempt to create the theoretical conception of modern mediaentertainment, including the formation of terminological base, classification of electronic mass media projects, interpretation of the intercourse from the archaic to modern layers of semantic sense with realization of main relaxing mechanisms is accomplished. The variant of horizontal-vertical analysis of mediaentertainment is also proposed. Their dominant components and levels are chosen, systematized and summarized, transformation appropriatenesses are defined, traditionally Ukrainian mediarelaxing types are picked out, the concrete actual material is brought in the scientific usage – fragments of entertaining production which demonstrate appropriateness and structural organization of entertainments, which are the products of audiovisual means of mass communication.
Maybe for the first time the whole layers of phenomena of national aesthetic-communicative system, not studied on the level of audiovisual journalism, are brought in the intercourse of entertaining aesthetic-communicative system which always considered outside, exotic, strange.
Phenomena world context of mediarelaxation is testified on the levels: methodological bases for writing of a scientific work, new formulas which are used as an analogue for creating of popular show on the popular TV-channels.
Much attention is paid to journalistic aspect of the given context – to the question of mediaprojects’ presence oh the TV-channels “1+1”, “Inter”, created upon the borrowed models and to the problem of imitating and foreign influences at the national information space.В диссертации впервые создаётся теоретическая концепция современных медиаразвлечений, включая формирование терминологической базы, классификацию продуцированных СМИ проектов интерпретацию интеркурса от архаичных до модерных пластов семантического наполнения с выделением основных релаксационных механизмов. Предлагается также вариант вертикально-горизонтального анализа медиаразвлечений: выделяются, систематизируются и обобщаются их доминирующие компоненты и уровни, определяются закономерности трансформаций, выделяются традиционные украинские медиарелаксационные типы, вводится в научный оборот конкретный фактический материал – фрагменты развлекательной продукции, которые демонстрируют закономерности и структурную организацию развлечений, продуцированных аудиовизуальными средствами массовой коммуникации.У дисертації уперше здійснюється спроба створення теоретичної концепції сучасних медіарозваг, включаючи формування термінологічної бази, класифікацію продукованих електронними ЗМІ проектів, інтерпретацію інтеркурсу від архаїчних до модерних прошарків семантичного наповнення із втіленням основних релаксаційних механізмів. Пропонується також варіант горизонтально-вертикального аналізу медіарозваг: виділяються, систематизуються та узагальнюються їх домінантні компоненти та рівні, визначаються закономірності трансформацій, виділяються традиційно українські медіарелаксаційні типи, вводиться у науковий обіг конкретний фактичний матеріал – фрагменти розважальної продукції, що демонструють закономірності та структурну організацію розваг, продукованих аудіовізуальними засобами масової комунікації. До інтеркурсу розважальної естетико-комунікативної системи чи не вперше вводяться цілі пласти не вивчених на рівні аудіовізуальної журналістики явищ національної естетико-комунікативної системи та серйозні їх переосмислення українськими вченими, а також оригінально потрактовані дисертантом національні особливості розважального функціонування сучасних медіа, що ставлять розважальний дискурс врівень факторів, які істотно впливають на процес національно-духовної самоідентифікації українського народу та популяризують імідж України у світі. Світовий контекст явищ медіарелаксації засвідчується на рівнях: методологічної бази для написання наукової роботи, діахронічної матриці розвитку явищ видовищної естетико-комунікативної системи, новітніх формул, що використовуються як аналог для створення популярних шоу на провідних телеканалах.
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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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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 litsThe 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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Žák, Vojtěch. "Erotika v animovaném loutkovém filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-263333.
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Eroticism and pornography in animated puppet film is a niche genre. Nevertheless, it deserves attention for its unique means of expression. The subject matter of this thesis is a reflection on the relationship between corporeality and the puppet in film. It also includes selected auteur independent films and their analysis, in which sexual behavior is the prevalent topic or which contain explicit erotic scenes.
The puppet functions as a representation of human body; specifically, within the context of this thesis, of the body in erotic situations. The body of the puppet becomes a representation of our own body. With the emergence of new technologies, we can become a representation of the puppet, which in turn becomes a puppeteer, an animator. The principle of identification with the main protagonist is essential for interpretation of the role and function of the puppet in film. One of the key instruments of interpretation of the role of the puppet in film and understanding its function in film. The chosen theme is accompanied by definitions of key terms and a brief overview of legislation concerning pornographic animated film.
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Tolley, Rebecca. "Review of Imagining Her Erotics." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5708.
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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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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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Sanches, Neto Miguel. "O artificio erotico : visitando a polaquinha." reponame:Repositório Institucional da UFSC, 1992. http://repositorio.ufsc.br/xmlui/handle/123456789/76924.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoMade available in DSpace on 2012-10-16T23:08:33Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T17:29:42Z : No. of bitstreams: 1 89593.pdf: 3434329 bytes, checksum: 8b29a1bf51c7e5c3924723b34a848ec6 (MD5)
O texto tem três partes. Na primeira, faço a apresentação do romance e discuto algumas definições do erotismo na literatura. Na segunda, analiso o discurso da narradora, averiguando as suas particularidades formais e as suas implicações sócio-históricas. Na última, questiono a veracidade deste discurso. A partir da imagem da prostituta como uma mulher que representa um papel de acordo com os desejos masculinos, proponho a leitura do livro não como a "história da vida de uma mulher de prazer", mas como um artifício - utilizado pela narradora que conta a trajetória estereotipada da prostituta vitimizada - que explicita o imaginário masculino.
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O'Brien, Amy Ann. "Boys' Love and Female Friendships: The Subculture of Yaoi as a Social Bond between Women." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-11202008-150110/.
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Thesis (M.A.)--Georgia State University, 2008.Title from file title page. Jennifer Patico, committee chair; Emanuela Guano, Megan Sinnott, committee members. Description based on contents viewed Sept. 10, 2009. Includes bibliographical references (p. 141-147).
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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.