sexual desire and invested of techno-erotic impulses. Engines and machines have been described through sexual metaphors and have been made an object of cult by artistic movements such as Italian Futurism. The passage from the industrial to the digital age has modified our relationship to technology and the awareness of our body through the use of technological objects –yet techno-eroticism still remains a central drive. Why is technology a source of erotic thrill? A central motivation is the relationship
Smut, Erotic Reality/Obscene Ideology In the book Smut, Erotic Reality/ Obscene Ideology , by Murray Davis (1983), the author expresses the idea that the best source for studying human sexuality objectively is "soft core", rather than “hard core” pornography. (Davis p. xix). The purpose of this paper is to critique Davis's claim and to study what understanding of human sexuality someone might have if they used some other resource that is available today, in this case the Internet. Davis
Violence as Displacement: The Erotic Gaze in Gladiator and Fight Club On the screen, two men writhe and grapple on the cold concrete floor. One man on top, holding the other from behind in a chokehold that causes the man on the bottom to succumb to the more powerful man. The dialogue by the narrator states that, “Sometimes all you could hear were the flap, hard packing sounds over the yelling, or the wet choke when someone caught their breath and sprayed” (Fight Club). The soundtrack consists
Like It In a romantic forest setting, rich with the songs of birds, the fragrance of fresh spring flowers, and the leafy hum of trees whistling in the wind, one young man courts another. A lady clings to her childhood friend with a desperate and erotic passion, and a girl is instantly captivated by a youth whose physical features are uncannily feminine. Oddly enough, the object of desire in each of these instances is the same person. In As You Like It, William Shakespeare explores the homoerotic
to admit that I am not too far off. He writes, “ … the aesthetic is made one with the erotic” (415). But then the essay takes an odd turn. This self-gratifying fulfillment becomes a replacement of either a missing sister or a dead daughter (the latter of which I don’t understand because Faulkner’s daughter did not die - was she perhaps very sick as an infant?) It seems that Bleikasten is now associating the erotic with the familial - not that incest is an inappropriate topic of conversation. However
relationship with his husband. She is going to call the Stevensons because, she and her husband have nothing more to discuss about. Michael?s way of looking on women as mere bodies could suggest a kind of degradation?which is to define a woman only as an erotic or sexual figure. There is an irony in the relationship of the couple which is the bloodless horror from the truth expressed that somehow the things are not, and never have been, what they used to pretend about themselves. It is clear in the
naked bodies. Pornography has always been a part of life and yet it has never been so readily available as what it is now. Erotic stories, explicit pictures, XXX- rated films and modern day magazines, are all part of the stimulus material which is known as "pornography" or as it is legally put, "obscenity." Is it ethically right for our children to be looking at this erotic material at such an early age? Do we have a twisted sense of morals if we support pornography? Or is it just a natural part
play is the cross dressing and role playing. The central love interest between Rosalind and Orlando calls into question the conventional wisdom about men's and women's gender roles and challenges our preconceptions about these roles in courtship, erotic love, and beyond. At the heart of this courtship is a very complex ambiguity which it is difficult fully to appreciate without a production to refer to. But here we have a man (the actor) playing a woman (Rosalind), who has dressed herself up as
that they have sought ways to prepare it earlier in the play" ("Duke Vincentio and the Illusion of Comedy or All's Not Well that Ends Well," SQ, 22 [1971], 31). These attempts, based on a culturally specific conception of matrimony as prompted by erotic desire, disregard other textually prominent motivations for marriage grounded in Renaissance moral, social, and financial concerns. Ann Jennalie Cook, comparing contemporary notions of marriage to those of the sixteenth and seventeenth centuries,
believed she was portraying sexual imagery. “O’Keefe’s depictions of flowers in strict frontality and enlarged to giant scale were entirely original in character . . . the view into the open blossoms evoked an image of the female psyche and invited erotic associations.” (Joachimides 47) O’Keefe denies these allegations and says that she “magnified the scale of the flower only to ensure people would notice them.” (Haskell 203) O’Keefe’s artwork was misinterpreted because of cultural prejudice, her non-traditional
who "felt" too much and somehow allowed these feelings to overcome her. This type of action would drive a person to madness, just as Ophelia is driven into her madness. This conclusion would seem to suggest that her madness stemmed from some sort of erotic passion between herself and Hamlet. This is the type of interpretation that is given to the audience in many movie versioesult of erotomania. Elaine Showalter creates an argument that is predominantly based on the idea that Ophelia's madness is one
Bacchus, her next lover, has yet to arrive. "By invoking the silent visual rhetoric of ancient sculpture," writes Rischin, "George Eliot is able to represent the erotic female body far more explicitly than Victorian conventions of... language would permit... By juxtaposing the statue with Dorothea, Eliot displays Dorothea's erotic potential." Here, Eliot uses an allusion to another type of narrative to fully illustrate her own heroine, and empower her with emotions that Victorian women were
times in the “cosmic cycles.” Vishnu is one of the main Hindu gods, worshiped as the protector and preserver of worlds. Vishnu is considered one of the main gods along with Brahman and Shiva. Shiva, known as the Destroyer, is at times compassionate, erotic and destructive. One of the principal Hindu deities, Shiva is worshiped as the destroyer and restorer of worlds and in many other forms. Whenever dharma is threatened, Vishnu travels from heaven to earth in one of ten incarnations. Shiva is considered
overwhelming symbolism to convey his own personal lust and sexual obsessions. The scenes where Lucy is receiving transfusions; first from Holmwood, then from Seward, and the unforgettable vampire baptism between Dracula and Mina all have these very erotic, sexual feelings associated with them. What makes these so powerful is the combination of violence and sex. As a reader, you know that what Dracula is doing are horrific and wrong, but because they are so sexually described and associated you think
withholds the crucial information that he is not her cousin, and they in fact have no familial relationship whatsoever. While under the impression he is her cousin, Alec uses this ignorance to get closer to her. Feeding her strawberries in an obviously erotic manner momentarily appeases his lustful hunger. His longing for her never abates from contact with Tess - perhaps even the opposite might be said: the more contact he has with her, the more he seems to want her. Alec, ... ... middle of paper
then sex is considered perfectly normal. It is even promoted with the children who are decanted, which means that the Utopian embryos are taken out of the bottles in which they've matured. The sexual activities the children participate in is called "erotic play", in which they run around naked exploring one another's bodies in which ever way they please. It is designed to forestall any adult feelings of guilt concerning sex when they are older. So that is one way in which the two stories differ. One
specific example of male dominant and female submissive sexual roles. Even though the novel contains no explicit or even implied sexual scenes occurring between the main characters, the actions and speech of Wade and Eve serve as a substitute for erotic passages. Eve is labeled as an obvious submissive character as soon as she was introduced in the novel. She appears as a helpless woman in the company of nuns. Nuns might be considered some of the purest and most vulnerable creatures alive
generic frameworks. However, fictional representations are still important sites where viewers negotiate personal and cultural concepts of sexuality and subjectivity. This queer reading of Buffy the Vampire Slayer investigates the disguised homo-erotic tensions between the out lesbian characters in the series. It avoids an elaborate search for homoerotic and non-normative sexual couplings between other characters in the series. If I were to do such a queer reading, I would probably concentrate on
Definitions of love go as far as Greek mythology. For example, the story of Cupid and His mortal Bride Psyche. There are many explanations on how love exactly came to mean what it does. According to John Lee there are 6 different types of love. 1. Erotic love: romantic, sexual irrational, and largely based on physical attraction. 2. Manic love: intense, all consuming, possessive, and fluctuating between joy and despair. 3. Ludic love: egoistic, self-serving, competitive, and based on an unequal relationship
know what it means to be unfaithful; the word “whore” is not in her vocabulary. She is defenseless against the charges brought against her because she does not even comprehend them, cannot believe that anyone would imagine such things. Her love, both erotic and chaste, is of that transcendent wholesomeness common to several late Shakespearean heroines [. . .]. Her “preferring” Othello to her father, like Cordelia’s placing her duty to a husband before that to a father, is not ungrateful but natural and