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Erotica vs pornography
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In the article, “Uses of the Erotica: The Erotic as Power,” Audre Lorde examines and further challenges the conventional view of eroticism in a society organized by patriarchy. Many people may perceive Lorde’s interpretation of the term “erotic” as unconventional—the idea that being erotic means having a strong internal sense of satisfaction that ultimately empowers an individual, specifically in women. Lorde begins her article by stating one of the many definitions she believes to describe the term “erotic.” As a whole, “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” (Lorde, 53). This definition speaks predominantly to the innate power of women and those who want to feel liberated in every aspect of their lives. However, even though the erotic is not exclusively associated with or connected to sex, they can be mentioned together. …show more content…
Lorde believes that pornography is the “direct denial of the power of the erotic” as it is just a sensation without feeling, while eroticism is meant to focus on feeling (Lorde, 54). Despite this, I believe that Sunlove’s and Winklebleck’s involvement in the pornographic industry and their use of physical bodies as a way of establishing connections with others who experience eroticism, ultimately allowing one another to feel joy on entirely new physical, psychological, and spiritual levels rather than just
by analyzing the case of Sarah Baartman as the quintessential Black female erotic body. The viewing of black women’s bodies as animalistic explorative and subsequent centuries of colonialism but also connects all hegemonic movements to surveillance and defining/redefining of the black female body.
In this paper, I plan to explore and gain some insight on Audre Lorde’s personal background and what motivated her to compose a number of empowering and highly respected literary works such as “Poetry is Not a Luxury”. In “Poetry is Not a Luxury”, Lorde not only gives voice to people especially women who are underrepresented, but also strongly encourages one to step out of their comfort zone and utilize writing or poetry to express and free oneself of repressed emotions. I am greatly interested in broadening my knowledge and understanding of the themes that are most prominent in Lorde’s works such as feminism, sexism and racism. It is my hope that after knowing more about her that I would also be inspired to translate my thoughts and feelings
This essay explores the blurring of gender roles within Bram Stoker’s Dracula and Angela Carter’s The Lady of the House of Love, focusing on the presentation of a sexually assertive female and its threat to the patriarchal society, and the duality of the female characters as they are presented as enticing and thrilling, but also dangerous and somewhat repulsive.
Novels that are written by pronounced authors in distinct periods can possess many parallels and differences. In fact, if we were to delve further into Zora Neale Hurstons, Their Eyes Were Watching God, and Kate Chopin’s novel, The Awakening, we can draw upon many similarities. Now of course there are the obvious comparisons, such as Janie is African American and poor, unlike Edna who is white and wealthy, but there is much more than just ethnicity and materialistic wealth that binds these two characters together. Both novels portray a society in which the rights of women and their few opportunities in life are strictly governed, usually breaking the mold that has been made for them to follow The Cult of True Womanhood. These novels further explore these women’s relationships and emotions, proving that throughout the ages of history women have wanted quite similar things out life. Similarly they interconnect in the fact that the end of the stories are left for interpretation from the reader. Both these women in these novels are being woken up to the world around themselves. They are not only waking up to their own understanding of themselves as women and individuals that are not happy in the domestic world of their peers, but they are also awakening themselves as sexual beings.
To do so, Levy turns to the experiences of several young women whom she interviews. From her interpretations of these experiences, Levy reaches the conclusion that these women’s sexual nature revolves around their need to feel wanted and to gain attention rather than to satisfy their own sexual needs (Levy, 194). But by drawing her experiences from only a small subset of the population, her analysis is ultimately restricted to that of a simulacral woman: specifically, one constructed from the characters that actively participate in raunch culture.
To sufficiently take a side in the ever-growing debate of pornography, one must first define the concept around which this discourse surrounds itself. A working definition for pornography is a piece of material that has the object purpose of arousing erotic feelings. Radical feminists, however, strictly define it as “the act of sexual subordination of women” (Dworkin 1986).
Lorde’s 1978 essay “Uses of the Erotic: The Erotic as Power” explores this very inter-sectionality (-the description of way multiple oppressions are experienced) of sexuality, gender, class and race. In this essay, Lorde argues against a restricted use of the erotic; an example of this usage is pornography where the female body isobjectified, thereby never affording the female an opportunity to express and/or recognize
Women have a deep power within them that encourages them shine on their own. Lorde says “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” (Essay given to us in class). Encouraging women to become independent the erotic gives women a feeling like no other, although they
Literary Analysis of Audre Lorde's Power. Audre Lorde uses her poetic prose to express her feelings of anger and fury over an unfortunate incident which occurred in New York City in the late 1970's. She shares her outrage and disgust at a racist society that can allow a child's death to be buried with no true justice found to help resolve the loss of an innocent child. Audre Lorde adopted an African name at the end of her life, Gamba Adisa, which means "Warrior-She Who Makes Her Meaning Known."
Being a women artist, displaying such an installation was not possible years back. Contrary to the opinions of many students new to the study of feminist literary Criticism, many feminists like men, think that women should be able to stay at home and raise children if they want to do so, and wear bras. Bringing such an art piece, reflection of her inner experiences or having sex in bed after having bad relationship could not be possible before. The main female characters are stereotyped as either “good girls” or “bad girls”. These classifications suggest that if a woman does not admit her male-controlled gender role, then the only role left her is that of a monster. Yet Emin’s confessional art- with its confidences of pregnancy, being raped, destructiveness of guilt, emotional stress- has become much common nowadays with feminist consciousness while in early generation, sharing such experiences lead to the destruction of women’s life. Her unmade bed, surrounded by such bric-bracs tells a story of a depressed, emotionally stressed women artist who asks for a sympathetic shoulder from the viewers by being a transparent soul. “For her British critics it [My Bed] expressed Emin’s sluttish personality and exemplified the detritus of a life quintessentially her own; it was, above all, confessional”, Cherry observes. Emin has limited the word ‘feminist; art practices have been the concerned of an early generation. This point seems to be confirmed by Emin herself, who declares to the discerning nature of her work in which she says that she decides to show either this or that part of the truth, which isn't unavoidably the whole story but it's just what she decides to gives us. As a self-motivated set of influences, feminism no longer titles a unitary or merging project infact it is now being the transformation just as feminist biases are perpetually subject to change. Whereas, looking at Tracey’s other work, Tent “Everyone I Have Ever
What is it about sex that makes everyone so uncomfortable? Upon reading Randa Jarrar’s A Map of Home, one of the major themes that the novel goes in depth about is Nidali’s sexual awakening. Many students would argue that this novel is littered with too much sexual activity, i.e. masturbation. However, A Map of Home is a novel about finding your place in this world; the search for your identity and purpose. Sexual identity plays a significant part of that continuum. You may question, “Well, could you have figure out a way to describe her story without all the sex stuff?” This statement would demolish the novel’s relatable and sheer honest tone, as well as disintegrate the genuineness behind the narrative if Jarrar would omit Nidali’s sexual experiences. The complete fact that young teenagers do think about sex so often makes one grasp the true relatability this novel showcases through the main character’s sexual experiences. In this essay, I plan to explore the importance of sexual awakening, Nidali’s own reasons for experimenting with her sexuality, and what we can ultimately learn from being open with what we want in that context.
Police officers were once referred as law enforcers who brought peace to our communities in times of disarray. But as time goes on, police have obtained exorbitant amount of power that is evidently abused, resulting in their use of unnecessary and redundant force against civilians. Due to police brutality, police are seen less as peacekeepers and more as discriminatory tyrants who for decades tormented minorities, especially African Americans. Audre Lorde’s poem “Power” portrays the ongoing battle African Americans face caused by the law enforcement’s abuse of power. This poem recorded Lorde’s emotions and response to the murder of a ten-year old African American boy named Clifford Glover by a Caucasian officer and shares Lorde’s outrage and
Audre Lorde defines the erotic as “a measure between the beginnings of our sense of self and the chaos of our strongest feelings; it is the assertion of the live force of women, creative energy empowered and knowledge of ourselves.” Lorde further states that it is the “recognising the power of the erotic within our lies can give us the energy to pursue genuine change within our world” (Audre Lorde, “Uses of the Erotic,” Sister Outsider, p.54-59). As Lorde is suggesting in her essay, those who experience oppression because of sexual desire or sexuality should embrace the erotic. Through Lorde’s poetry, the poet attempts to give those from a marginalised group a voice within literature. In addition, Audre Lorde emphasises in her poetry, as does
There has been a long and on going discourse on the battle of the sexes, and Simone De Beauvoir’s The Second Sex reconfigures the social relation that defines man and women, and how far women has evolved from the second position given to them. In order for us to define what a woman is, we first need to clarify what a man is, for this is said to be the point of derivation (De Beauvoir). And this notion presents to us the concept of duality, which states that women will always be treated as the second sex, the dominated and lacking one. Woman as the sexed being that differs from men, in which they are simply placed in the others category. As men treat their bodies as a concrete connection to the world that they inhabit; women are simply treated as bodies to be objectified and used for pleasure, pleasure that arise from the beauty that the bodies behold. This draws us to form the statement that beauty is a powerful means of objectification that every woman aims to attain in order to consequently attain acceptance and approval from the patriarchal society. The society that set up the vague standard of beauty based on satisfaction of sexual drives. Here, women constantly seek to be the center of attention and inevitably the medium of erection.
... control of their bodies… consequently, they can defiantly enjoy their sexual encounters as expressions of sexual freedom,” (Mhlahlo 104). Through these modes of expression, the female protagonist Mazvita truly breaks away from the oppression, confinement, and restrictions to have control over her own body and sexual pleasures.