Seductive Forms is a highly praised account of women’s contribution to the `rise of the novel’ in the late seventeenth and early eighteenth centuries in England. The prose fiction of Aphra Behn, Delarivier Manley, and Eliza Haywood is considered as both providing erotic pleasure for its readers and scoring political points for its partisan (Tory) authors.
Whether you’re writing a steamy erotic novel, or a romantic novel and want to take the reader beyond the bedroom door, writing a convincing sex scene can be one of the most difficult challenges for any fiction writer. How to Write Erotic Fiction and Sex Scenes is a practical guide to help every writer rise to this challenge.
Why is ‘love’ taken for granted as a part of human experience? And why is sexual or romantic love in particular so important to us? This book aims to find out, tracing the intellectual history of sexual love, from the ancient Greeks to the modern day. Erotic Love shows how discourses of love have intersected with social and cultural trends, as well as with personal events and experiences. Beginning with the queering of love in Greek antiquity, it looks at how sexual love has been sung about, fictionalized and theorized as a cornerstone of the formation of Western culture. From the courtly love of twelfth-century troubadours and the rise of affective individualism in the eighteenth century, to the way the novel helped catalyze and crystallize the hopes and contradictions of love and marriage, these are decisive episodes in the history of romantic love. Lastly, the book deals with how sociologists and feminist theorists have made sense of the liberalization of sexuality over the last fifty years, especially given the post-romantic pragmatism of commercialized dating practices. Arguing against the over-rationalism of intimate life, Erotic Lov e recognizes the need to liberate love from patriarchal, racist and homophobic prejudices, and highlights the value of literary and sociological traditions to emphasize how they dignify the rhapsodies and the sufferings of love.
How is it that the foot and the toes are credited with such strong sexual connotations? Do they represent something out of the ordinary to the human subconscious? How otherwise could these unremarkable parts of the body seem erotic? And what has their appeal to do with the Eternal Mystery that is Woman? Often left uncovered, in former times when total nudity was forbidden or considered unseemly, the foot and its shape allowed the imaginations of observers to roam wild. The only part of the body of a woman occasionally visible (unlike those visible normally or those never visible normally), it inevitably became a symbol for the whole body, as fantasized. These are the questions to which Hans-Jurgen Dopp here applies himself, supporting his conclusions with a remarkable collection of rare illustrations.
With contributions from distinguished scholars and clinicians who view human erotic desire from modern developmental, relational, societal, and cross-cultural perspectives, Eroticism: Developmental, Cultural, and Clinical Realms offers a multifaceted and up-to-date glimpse into what we find sexually attractive and why. While psychoanalysis has unshackled itself from the narrow confines of instinct theory to include ego psychology, object relations theory, self psychology, and the contemporary relational paradigm, such heuristic and clinical advance is sorely needed to further our grasp of human eroticism and love. Accommodation also needs to be made for the cultural changes that have occurred over the last five or six decades. These include the feminist corrective to the phallocentrism of ‘classical’ psychoanalysis, the new insights into human subjectivity and personality development provided by the gay and lesbian movement, the contemporary de-centering of the essentialist and binary gender formulations, and the post-colonial voices of the non-Western people. By providing theoretically anchored clinical guidelines, Eroticism provides not only an update on the early analytic understanding of human eroticism but advances clinical praxis as well.
In its specially-commissioned fourteen chapters, this important book discusses an impressively wide range of issues around the theme of male spirituality in the nineteenth century, drawing from history, cultural studies, art history and literary criticism. Topics explored include: ideological and iconographical representations of masculinity across the major Christian denominations; militarism and hymnody; male homosexuality and homoeroticism. The book is not afraid to explore controversial areas, nor to go beyond the generally acknowledged ‘canon’ of prescribers of gender identity: it includes, for example, leading nonconformist figures like William Booth and Charles Haddon Spurgeon, and early gay writers like John Addington Symonds.
Offering new and theatrically informed readings of plays by a broad range of Renaissance dramatists – including Marlowe, Jonson, Marston, Webster, Middleton and Ford – this new book addresses the question of pleasure: both erotic pleasure as represented on stage and aesthetic pleasure as experienced by readers and spectators. Some of the issues raised (the distribution of pleasure by gender, the notion of consent) intersect with feminist reinterpretations of Renaissance culture.
Say it loud and say it proud! Or say it low and say it slow. Anyone can learn to speak the language of lust. Here to help is Dirty Talk, an ultra-feminine, far-from-prim primer that pulls together everything a lady needs to know to loosen her tongue. With enticing illustrations throughout, this little handbook starts off with loads of techniques to build erotic vocabulary and tips to tackle stage fright, then moves on to mastering the art of talking dirty deux. To wrap it all up, the book shows how a minx-in-the-making can raise dirty talk to the next level, with tips for taking erotic lingo outside the boudoir. Even the most ladylike will find lots of seductive options, proving that dirty talk doesn’t have to be cheap, unless, of course, it’s meant to be…
Hailed by Plato as the “Tenth Muse” of ancient Greek poetry, Sappho is inarguably antiquity’s greatest lyric poet. Born over 2,600 years ago on the Greek island of Lesbos, and writing amorously of women and men alike, she is the namesake lesbian. What’s left of her writing, and what we know of her, is fragmentary. Shrouded in mystery, she is nonetheless repeatedly translated and discussed – no, appropriated – by all. Sappho has most recently undergone a variety of treatments by agenda-driven scholars and so-called poet-translators with little or no knowledge of Greek. Classicist-translator Jeffrey Duban debunks the postmodernist scholarship by which Sappho is interpreted today and offers translations reflecting the charm and elegant simplicity of the originals.
Duban provides a reader-friendly overview of Sappho’s times and themes, exploring her eroticism and Greek homosexuality overall. He introduces us to Sappho’s highly cultured island home, to its lyre-accompanied musical legends, and to the fabled beauty of Lesbian women. Not least, he emphasizes the proximity of Lesbos to Troy, making the translation and enjoyment of Homer’s Iliad and Odyssey a further focus.
More than anything else, argues Duban, it is free verse and its rampant legacy – and no two persons more than Walt Whitman and Ezra Pound – that bear responsibility for the ruin of today’s classics in translation, to say nothing of poetry in the twentieth century. Beyond matters of reflection for classicists, Duban provides a far-ranging beginner’s guide to classical literature, with forays into Spenser and Milton, and into the colonial impulse of Virgil, Spenser, and the West at large.
An examination of the erotic in medieval literature which includes articles on the role of clothing and nudity, the tension between eroticism and transgression and religion and the erotic.