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This article puts on trial the assumed authorship of a sixteenth-century manuscript poem reminiscent of Ovid's Heroides, currently ascribed to Lady Elizabeth Dacre. After establishing a revised edition of the text, it provides arguments based on historical, material, literary and textual analyses of the source, strongly indicating the unlikeliness of its supposed attribution to this English noblewoman. The arguments suggest that, while Dacre was probably the scribe of the manuscript, the author of the text was most likely her husband, Sir Thomas Dacre. This outcome is used as an example evincing the fundamental importance of usable and informative text editions for historians and literary scholars alike, increasingly calling for close collaboration across disciplines, as well as a renewed appreciation of textual editing. [ABSTRACT FROM AUTHOR]

Unlike the fat body of Iros, παχύς bodies in Homeric poetry are powerful, attractive, and consistent with a non-gender- specific conception of the erotic. In Odyssey 18, Iros' bulk belies his lack of strength, but Odysseus' large frame, elsewhere described as παχύς, both promises and delivers effective action. A threat of castration distances Iros from the erotic; Odysseus enjoys sexual intimacy with several characters. Penelope exercises seductive charms over the suitors in book 18, shortly after being described as παχύς; the description of her "παχύς hand" at 21.6 suggests both bulk and strength. [ABSTRACT FROM AUTHOR]

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article revisits a famous graffiti poem from Pompeii (CIL 4.9123). It argues that the poem is both more erotically charged and more cleverly metaliterary than previously recognized; and that this reading of the poem offers new evidence for the literary richness of Pompeii's graffiti culture. [ABSTRACT FROM AUTHOR]

“We are related to enjoyment as something which intimately belongs to us, to our corporal existence and inner vitality, yet is separated from and independent from us, and thus can be surprising, bewildering, burdensome, disgusting, overwhelming, terrifying, thrilling, conflicted, uncanny, uncontrollable (and sometimes even pleasurable)” – claims Aaron Schuster (2016: 44). According to the theorist, enjoyment can manifest as its opposite, especially in the context of its representations in literature. In this essay, I would like to look at avant-garde erotic poems from the interwar period that address the fascinating entanglement of the bodily and the textual. The metaphors of reading and writing, lyrical dialogue between some of the poems, metatextual reflections on the nature of erotic poetry, and the problem of embodiment are some of the strategies that Bruno Jasieński (Moja nieśmiertelność [My Immortality], Słowo o słowie [A Word about a Word], Na bis [An Encore]), Tadeusz Peiper (Naga [Naked], Ja, Ty [Me, You]), and Mila Elin (Książka [The Book], Głód [Hunger]) use to discuss the joys and challenges of trying to represent jouissance in the text. The starting point for my reflection is Alenka Zupančič’s diagnosis of a similar type of satisfaction coming from sex and talking about sex and her insights on the procedures of intellectualizing sexuality.

Copyright of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal is the property of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the forgotten poem "The Tour of Doctor Syntax in Search of the Picturesque" by William Combe, illustrated by Thomas Rowlandson. It argues that the poem deserves renewed attention as it is both a comic satire of the picturesque and a great love poem that explores the relationship between the picturesque and the erotic. It details the origin of the poem, its popularity, and its critical neglect, and encourages scholars to re-engage with this charming and insightful work.

T. S. Eliot's sexual and spiritual development is interconnected with his poetry and quest for a holistic philosophy shaped by Christian theology. Using the mystical-erotic dialectic as a poetic, "Mr. Eliot's Sunday Morning Service," "Little Gidding," and "How the Tall Girls Breasts Are" are analyzed to demonstrate his evolution from conflicted materialist to ascetic oblate to sacramental participant. This final movement was catalyzed by and can be read through the Orthodox doctrine of theosis that authorizes mystical-erotic integration. Concluding with a comparative analysis with Song of Songs, this study seeks to raise critical awareness and appreciation of Eliot's erotic poetry. [ABSTRACT FROM AUTHOR]

The article discusses the poem "The Marshall Street Poster of Marilyn Monroe" written by American poet Lucia Perillo on the death of American actress Marilyn Monroe. Perillo dramatizes her timeless and prurient fascination with the reigning Venus of her generation through a memory poem. However, males also suffer ambivalence and physical pain in Perillo's poems, often because of shared erotic situations and scenarios.

In the first section (1-139) of his Minne-vlam (1642) the Leyden student François le Bleu (ab.1620 - post 1655) tells the love story of Phillis and Amaril in various poetic forms. Probably the 'Julia Monobiblos' of Janus Secundus was his inspiration, as he also included ten 'Kusjes' (Basia) in the story. A second section (140-237) contains a number of poems and some 'Thoughts' in prose on Amarillis' death, curiously dedicated to Cassandra, the poet's new love. His enduring love for Amaril should prove to Cassandra that he will be faithful to her as well. The article discusses both the traditionality of the book as a kind of show case of erotic poetry as well as the surprising presentation of the love affair, and its autobiographical background. In that connection attention is given to Le Bleus literary friends, and especially his efforts to make the acquaintance of the poet Constantijn Huygens, secretary of the stadtholder Frederik Hendrik. One of Le Bleus friends, prof. Zuerius van Boxhorn wrote an introductory letter to Huygens, praising Le Bleu's poetry. Huygens donates the usual amount of money for a laudatory poem on the prince. So encouraged, Le Bleu dedicates his Minne-vlam to both Huygens and another highly placed poet Jacob Cats, curator of the university. Both poets are well known for their Calvinism and in their poetry there is rarely, if ever, place for pagan mythology. Probably they were not happy with a book of poems by a young student, full of classical mythology and without any Christian background, even in the poems on Amaril's death and the funerary poetry as found in the second, more general part of the book (239-415). Maybe Le Bleu was disappointed about the lack of recognition from the dedicatees. In any case, he never published any other poetry. [ABSTRACT FROM AUTHOR]

Se presenta una introducción a la revista que analiza las Colecciones Bilingües de Autores Greco-Latinos de la Universidad Nacional Autónoma de México con un enfoque en la poesía erótica antigua, los relatos filosóficos y mitológicos de Hyginus.

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Diablotexto Digital is the property of Diablotexto Digital and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents an interpretation of the Śṛṅgāratilakabhāṇa of Rāmabhadradīkṣita, a poet active in the vicinity of Thanjavur at the turn of the eighteenth century. The bhāṇa is an erotic-comic monologue, which in Rāmabhadra's hands is used, in our reading, to ironic and self-subverting ends. While the play concludes with the sort of happy ending conventional to its genre, it contains potent unresolved tensions, which we understand as deliberate elements of Rāmabhadra's authorial project. At the center of our interpretation are questions about the representation of sexual consent and coercion, and the ways in which the monological techniques of the genre make possible Rāmabhadra's innovative explorations of time, perspective, and self-reflexivity. [ABSTRACT FROM AUTHOR]

Taiwan was colonized by Japan in 1895. Oddly enough, following Taiwan's colonization, "fragrant trousseau" (xianglian 香奩) poetry, a classical style dating back to the ancient past, did not vanish, but instead became increasingly popular. This article investigates the poetic oeuvre of Lian Heng 連橫 (1878-1936) as an example of this phenomenon, not only because he was an important Taiwanese poet, but also because he wrote a substantial amount of poetry in the fragrant trousseau style. Lian discussed the fragrant trousseau style in his works on poetic theory, where he confronted the pedigree of, and the problems within, fragrant trousseau poetry. Through a reconstruction of the style's pedigree and an analysis of its derivation from fengya discourse, I interrogate its hidden sprit of resistance. I moreover investigate the specific zeitgeist this gorgeous style expressed through its poetic aesthetics. The coexistence of glory and eroticism in Lian's poetry reflected the resistance, compromise and anxiety of Taiwanese literati under the colonial regime. [ABSTRACT FROM AUTHOR]

An essay is presented which explores the eco-erotic themes of the poems of Canadian author Emily Pauline Johnson particularly her selection of the canoe as a poetic subject. Topics discussed include the depiction of Indigenous self-determination and sexuality in her erotic canoe poetry, the association of the canoe with Canadian nationalism, and the queer studies of her poems.

This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of 'Eastern' literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers' renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with 'Eastern' poetry? Furthermore, which conceptual tools can we mobilize to 'make sense' of these non-scholarly translations of classical Sanskrit poems and 'take seriously' their many layers of textual and contextual meaning? [ABSTRACT FROM AUTHOR]

Having translated the elegy No amanece el cantor (2018), the first book by José Ángel Valente that was published in Brazil, I would now like to introduce Brazilian readers to another set of poems by the same author, although these deal with a radically different theme. Specifically, I am talking about the seventeen erotic poems that make up the first part of Mandorla, a book originally published in 1982. [ABSTRACT FROM AUTHOR]

A body is full of other bodies. Both the erotic experience, as the religious and the poetic one, give an account of that desiring desire that allows us to dilute the edges of individuality in order to advance towards something that is beyond itself. The sonnets and tenths that make up a fleeting and disguised witness (1985) by the Cuban Severo Sarduy, to whom this article is dedicated, stretch to the maximum the foundational images of Spanish mysticism to give an account of that dissolving experience where what is practiced is not "to be otherwise" but "another way to be". [ABSTRACT FROM AUTHOR]

The article refers the allusion of Oreithyia's rape by Boreas and discusses the theme of erotic violation that provides poetic inspiration in Ibycus' poem PMGF as highlighted by Claire Wilkinson and Malcolm Davies.

The pervasiveness of female objectification in the treatment of women by men has been called out as a manifestation of gender hierarchy and domination. This research analyzed the figurative languages used in E.E. Cummings’ poem first she like a piece of ill-oiled to identify his treatment of women seen through the illustration of the persona’s actions, thoughts and feelings. Dynamics of the personas’ sexual relationships are then identified to analyze how aspects of objectification appear in the relation between men and women. In order to reinforce the notion of objectification, dehumanization as its extension is utilized as a supporting theory. It is found that practices of female objectification occur in the poem with varying degrees of intensity and ways that it is conducted. However, the objectification is concealed by the poem’s presentation of women as a sexually liberated being, yet in practice, her sexuality is still being objectified. The objectification extends up to the conduct of dehumanization which reduces the women into a dirty mechanical object.

Once anthologies are reflexes of an era in evidence and its themes, this article analyzes four literary works whose texts and authors were gathered around eroticism, a classic and recurrent topic in literature, especially in times ruled by authoritarianism, conservatism and fundamentalism. Erotic literature and its licentious speech positions itself as a transgression mechanism, while it criticizes old behaviors and promotes knowledge about the body, pleasure and the possibilities to use it. What's the translator's and organizer's purpose in gathering texts from an erotic speech tradition, from different ages and cultures? What's the importance of an erotic poetry anthology to Brazilian literature history? Why do minorities need to demarcate a territory and a speaker's location in literature? This article offers a different reading of the erotic speech through anthologies as political acts, in which the canon is crossed, jumbled, revised and rethought on behalf of the urgent demands brought by contemporary productions and speeches. Our study starts from the works Antologia erótica em tradução (2006), organized by José Paulo Paes, and the Antologia da poesia erótica brasileira (2015), organized by Eliane Robert Moraes, and focuses on two anthologies of dissident minorities: Poesia gay brasileira - Antologia (2017), organized by Amanda Machado and Marina Moura, and Pretumel de chama e gozo: antologia de poesia negro-brasileira erótica (2015), organized by Cuti and Akins Kintê. [ABSTRACT FROM AUTHOR]

Copyright of Revue Verlaine is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers information on the strong tradition of women poets in Uruguay along with their writing styles. Topics discussed include describing lyric and erotic writing about nature of Juana de Ibarbourou, describing sexuality and desire by Delmira Agustini through her poems and the books written by Tatiana Orono including "Estuario," "La Piedra Nada Sabe" and "Morada movil."

This article investigates the extensive use of the heart as word and image in the creative work of Else Lasker-Schüler (1869-1945), focusing especially on her love poetry. Specifically, it situates Lasker-Schüler's practices in the context of modernist appropriations of repetition, revealing how the multiplied hearts allow the poet to invite an exploration of difference within unity, through which meaning is alternately multiplied and questioned; of difference within the self, which forms the basis of modernist subjectivity; and of abstraction, achieved through emphasis on repetition of the heart as form. Such a reading enriches our understanding of Lasker-Schüler's work - especially her love poetry - in that it reveals the possibility for that very symbol of love and the erotic - the heart - to function beyond the traditional role to which existing scholarship has largely assigned it. [ABSTRACT FROM AUTHOR]