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Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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.)

Alex Goldiș's book, ZOOM IN/ ZOOM OUT: Lecturi de critică și literatură contemporană (Readings of contemporary criticism and literature), is a comprehensive exploration of influential texts in Romanian literature and criticism. The book is divided into three parts, with the first focusing on Romanian literary fiction, the second on Romanian criticism, and the third on international theory. Goldiș's reviews and analyses cover a wide range of literary volumes, offering insights into the works of both established and emerging authors. The book provides a valuable resource for understanding the dynamics of contemporary literature and criticism in Romania. [Extracted from the article]

This essay examines the debut novel by Pierre Loti Aziyadé, focusing on the relationship between the character of Loti and the young Circassian Aziyadé. Particular attention is also placed on the unrealistic geography of Istanbul, to the point that the city seems to be the setting for a medieval conte, and on Istanbul as a city of pleasure or of the “pâle débauche” by analyzing the homoerotic subtext of the novel. It has been observed that, in the Turkish context, among the potential factors of integration, capable of establishing spaces of freedom within the constrictive meshes of the Islamic ethical system for the success of erotic questions, a leading role must be attributed to the size of Istanbul. There have been many interpretations of the Loti-Aziyadé relationship; but only one seems to offer a broader view of the writer’s relationship with the beautiful Circassian. This interpretation makes use of René Girard’s theory of “désir triangulaire”. The novel is then analyzed in relation to the sources underlying it (Alfred de Musset, Chateaubriand, etc.). [ABSTRACT FROM AUTHOR]

Adding to the extant literature literature, we propose to approach Mexican comics as literary objects within which sociopolitical, economic and cultural processes of Mexican society are expressed. Instead of focusing on Golden and Silver Age Historietas or contemporary artistic and/or politically aware creations, we address the popular eighties' erotic Sensacionales. Drawing on literary theory and interviews with cartoonists cartoonists, we argue that these comics enable us to understand how changes in gender, class and racial/ethnic relationships in Neoliberal Mexico are symbolically elaborated around female's body and desire, displacing them into arousing narratives about sexually insatiable women. [ABSTRACT FROM AUTHOR]

This essay explores the intentio operis in the use of transatlantic bridges that are sometimes real, other times rhetorical, and others imaginary that Alberto Ruy Sánchez draws between his country and Morocco. It also looks at the representation of Moroccan space and women, arguing that Ruy Sánchez falls into exoticizing Orientalism with tints of colonial nostalgia, particularly when portraying Moroccan women. Finally, it explores how the author creates his own precursors through the quotes and literary references in his five novels. Presenting himself as a reader of Arab erotic literature and Sufi sacred texts, Ruy Sánchez suggests that he is rewriting classic literary texts, thus creating his own literary lineage and diachronically situating his work within a literary tradition that remains on the margins of Mexican national coordinates to approach, instead, the canon of Arabic literature. [ABSTRACT FROM AUTHOR]

Copyright of Cadernos PAGU is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 Antikvitás & Reneszánsz is the property of MTA-SZTE Antikvitas es Reneszansz, Forrasok es Recepcio Kutatocsoport 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.)

Powerplay, or the consensual power exchange between "Dominant" and "submissive" (D/s) role partners, is common practice within BDSM culture. To many BDSM practitioners, their D/s role is an integral part of their sexual identity, informing not only their sexual scripts but also their non-sexual social interactions. Linguistic Inquiry and Word Count (LIWC) text analysis software was used to process 261 participants' responses to prompts asking them to write erotic and relationship-themed narratives. Using a data-driven approach to model selection, we regressed participants' engagement in BDSM and D/s powerplay role identification on standardized language frequencies. Stories from more active BDSM practitioners' narratives used more perceptual words, suggesting potentially mindful, intimate, and detailed storytelling, whereas non-practitioners used more tentativeness and death in their writings. Moreover, language reflected D/s role attributes, with Dominants exhibiting ownership, responsibility, and other-focus, and submissives referencing power dynamics and self-focus in their responses. Findings are consistent with existing literature on BDSM power relationships and relate to psychosexual well-being. [ABSTRACT FROM AUTHOR]

21 Christopher Cairns, I Pietro Aretino and the Republic of Venice: Researches on Aretino and His Circle in Venice, 1527-1556 i (Florence: Olschki, 1985). More recently, in 2021 Aretino's position as a major cultural figure was confirmed by the publication of the Brill I Companion to Pietro Aretino i (2021), which serves as a wide-ranging compendium of Aretino scholars from the past thirty years, surveying his various fields of cultural influence. On the mythology of Aretino's death see Harald Hendrix, 'La funzione della morte leggendaria nella mitografia di Pietro Aretino', in I Pietro Aretino nel cinquecentenario della nascita: atti del convegno di Roma-Viterbo-Arezzo (28 settembre-1 ottobre 1992), Toronto (23-24 ottobre 1992), Los Angeles (27-29 ottobre 1992) i (Rome: Salerno, 1995), 453-69. It is precisely this quality that allowed Aretino to prosper in cities far beyond his physical reach or immediate sphere of influence - in London both Harvey and Nashe could hear and identify with Aretino's voice, just as his banned religious works could be heard by Catholics almost a century after his death in Douai. [Extracted from the article]

Inscribing what Levinas might call 'espace vital' (the space we can survive), 'Ouvert Oeuvre: Openings', (written/composed by Adeena Karasick and visualized/designed by Warren Lehrer), is an ecstatically wrought, never quite post-COVID-19 celebration/exploration of openings. It tracks the pain of openings read through socio-economic, geographic and bodily space. Employing fragmentation, layered language and sonic wordplay, these excerpts explore a range of intralingual etymologies of the word 'opening', laced with post-consumerist ironic and erotic language, theoretical discourse, philosophical and Kabbalistic aphorisms, 'Ouvert Oeuvre: Openings' foregrounds language as a material, physical organism of hope – highlighting the concept of opening as an ever-swirling palimpsest of spectral voices, textures, whispers and codes transporting us through passion, politics and pleasure as we negotiate loss and light. The full volume is forthcoming from Lavender Ink Press, Spring 2023. [ABSTRACT FROM AUTHOR]

Copyright of Ciência da Informação is the property of Instituto Brasileiro de Informacao em Ciencia e Tecnologia (IBICT) 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 Itinerários - Revista de Literatura is the property of Itinerarios - Revista de Literatura 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.)

In early eighteenth-century England, love songs published in musical miscellanies offered audiences the chance to learn about love in all of its forms. Love songs covered a wide range of subjects, with advice that a man or a woman could follow from the earliest stages of courtship to the later stages of a marriage. Other songs were explicit and erotic, introducing the singer or listener to aspects of sexual conduct and intercourse that might inform or caution them on how to behave. This essay compares eighteenth-century song culture to the didactic purposes of conduct books and erotic literature in the eighteenth century. I argue that by purchasing and performing songs, men and women learned new ways of engaging with the opposite sex across a variety of social contexts. As England's attitude towards courtship, marriage, and sex continued to change in the early eighteenth century, song culture connected men and women to the realities of courtship through the performance of shared emotion that elaborated upon their personal experiences. Love songs helped men and women navigate the tensions between their own desire and the behavioral rules and limitations placed on each sex. [ABSTRACT FROM AUTHOR]

This essay argues that certain print pornography featuring "crossdresser," "transvestite," and "transsexual" subjects was, counterintuitively, part of a distributed information and care network by and for US transfeminine people between the 1970s and 1990s. While this genre of "transploitation" magazine did reproduce transfeminine bodies as fetish objects, transfeminine individuals themselves also used the adult magazine and bookstore market to distribute clandestine information on hormonal, sartorial, and social self-fashioning and support. This symbiotic relationship with the pornographic allowed information about transfeminity to circulate to individuals with little economic means as well as to reach people who did not have regional or cultural access to the respectable "CD," "TV," or "TS" community media of the era. In this way, these magazines formed part of a social safety network: a shadow system of circulating subcultural knowledges within mainstream media in order to survive legal censorship, medical exclusion, and economic abandonment. [ABSTRACT FROM AUTHOR]

The paper intends to explore the role of pornographic literature on to create gender discrimination in the western society with critical reference to identify the status of woman in west. The topic remained of great focus in academia in west. The last decade accounts expand of academic western literature to document concepts of analyzing increased consumption of the pornography with its imagery. In recent, the growing concern is observed amongst western commentators and policymakers to present notion of "sexualization" with specific consequences for woman. The present article is a contribution to sketch an academic background to present role of "pornographic literature" to create discrimination in western society through a feminist lens. The paper is qualitative in nature. It is designed to analyze the western literature through content analysis. The material is downloaded from the internet sources. After thorough analysis of pornographic literature, the findings of the study reveals some of the important issues related to identification of woman in west. The two important issues are: 1) the pornographic literature is in process to promote nudity other than to highlight various other aspects related to the origin of pornography and its impact on youth which seems to be obscured and 2) the discussion is deflected from possible ills of normalization of pornography with pornographic images of women only that creates a source of discrimination on side of woman. As a result the adverse effect on her identity in west. Therefore, it is significant to describe the nature of pornographic studies in relation to its origin and its impact on overall society. [ABSTRACT FROM AUTHOR]

In this article, the author discusses the experience of reading novel "Jin Ping Mei" and descriptions of sex in the novel. It mentions new translations, or fields such as gender and sexuality, pornography, feminism and women's studies, psychoanalytic theory, or the now rich scholarship on Chinese sexual culture itself. It also mentions elegant, figurative, and euphemistic language to instruct men sensual and erotic literature, especially poetry.

This essay examines intersecting depictions of sexual, representational, and political desire in the 2018 YA novel Hearts Unbroken by Cynthia Leitich Smith (Muscogee). Engaging Indigenous erotics theory alongside close readings, I characterize the Indigenous YA erotics emerging from Smith's novel in terms of "decolonizing desire," signifying both the novel's decolonizing approach to erotic desire and its intersecting portrayal of a broader desire for decolonization. I argue that the erotic expression of the novel's young Indigenous female protagonist intertwines with other forms of expression to illuminate settler colonial violence and challenge dominant representations that propel it. Her erotic experiences, moreover, enable her and others to embrace Indigenous joy and to explore desire's role in imagining and working towards decolonization. Finally, I contend, Hearts Unbroken strongly appeals to young readers and uniquely adds to Indigenous erotics via its portrayal of desire as malleable and its implication that we, too, can change what and how we desire. [ABSTRACT FROM AUTHOR]

These two models end up creating binary constructions of the body realities, then produce normalised bodies and a-normalised bodies, bodies that are within the normal canons and bodies who live beyond the borders of bodily canonisation. There is no doubt that too often we limit ourselves to thinking and understanding the body as flesh, as something that only has and only offers an anatomical dimension. This is why we should speak of the bodies that also need to be flesh; perhaps we could speak of flesh-and-body as something united.[5] The demand for flesh goes beyond (or maybe before) the claim to the body, from the metaphorisation, enculturation or poeticisation of that flesh, from the raw materials that we bring to our interactions with the world that surrounds us. The Christian vision of the body splintered from the soul is enhanced with the Cartesian distinction of the res cogitans and res extensa.[7] It is a body that later would be seen and understood as a machine body, a controlled body, a medicalised body, a rehabilitated body or a body without organs. [Extracted from the article]

This article examines the surprising attention to taboo works of Chinese erotic literature within the corpus of early Manchu literary translations, focusing on the Manchu interpretations of Jinpingmei (The plum in the golden vase), Xixiang ji (The story of the western wing), and Rouputuan (The carnal prayer mat). The Qing court is well known to have sponsored translations of core works of the Chinese classical and historical tradition, while simultaneously banning texts perceived as heterodox, lascivious, or politically sensitive. A lively engagement among Manchu commercial publishers with the literary tradition, including vernacular novels and plays, highlights the broader reading habits of the early Qing Manchu reader in practice. In mediating erotic material for this new audience, translators employed a variety of interpretive choices, ranging from expurgation to the opposite extreme of hyper-sexualization. This study situates these translation practices within the broader Manchu justifications of reading this material, shifting our attention from the conventional representation of Manchu literary repression. [ABSTRACT FROM AUTHOR]

The present article discusses meta-epic reflection in a selection of twenty-firstcentury novels based on Homer's Iliad and Odyssey. It defines instances of "metagenre" and "metageneric texts" as texts which, explicitly or implicitly, reflect upon the nature of another genre or of their own genre; novels which comment on the features of the epic qualify as "meta-epic novels." In its main part, the article distinguishes between three modes of meta-epic reflection in the contemporary novel. It briefly discusses Daniel Mendelsohn's An Odyssey: A Father, a Son and an Epic (2017) as an affirmative take on the ancient genre and Margaret Atwood's The Penelopiad (2005) as a subversive one. Subsequently, it focusses on Natalie Haynes's A Thousand Ships (2019) as an ambivalent approach to the epic. In this novel, meta-epic reflection takes centre stage through the character of Calliope, the ancient muse of epic poetry, who advocates a reform of her own genre: dissatisfied with its patriarchal traditions, Calliope calls for a new kind of epic which foregrounds the fates of the female characters. A Thousand Ships, which narrates the tragic stories of the women affected by the Trojan War, adheres to the rules of this new sort of epic. Adapting a term from Henry Fielding, the article reads A Thousand Ships as a "tragic epic poem in prose"--a prose epic for a twenty-firstcentury readership. [ABSTRACT FROM AUTHOR]

Copyright of Lendemains is the property of Narr Francke Attempto Verlag GmbH & Co.KG 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 Anos 90 is the property of Anos 90 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 Moderna Sprak is the property of Institutionen for Moderna Sprak 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.)

Avec l’abolition de l’Inquisition (1821) et la montée du libéralisme, le Portugal du début du XIXe siècle voit surgir une production de littérature licencieuse. Si les best-sellers du genre sont avant tout des traductions, les écrivains du cru commencent à imiter la littérature libertine française, notamment les ouvrages mettant en scène la débauche au couvent et les amours lesbiennes. Arsénio de Chatenay sera l’un d’eux avec son Os Jogos Lésbios ou os Amores de Joaninha (1877). Néanmoins, son roman préfigure davantage la littérature décadente puisqu’il choisit pour héroïne un(e) hermaphrodite élevée dans un couvent, l’avatar portugais et queer d’Herculine Barbin.

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak 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 consumption of erotic literature by women has been largely unexamined by sociologists. This article analyzes 36 Latina and 47 White women readers' evaluations of Fifty Shades of Grey and offers important insights on how women interact with the themes of romance and eroticism as they reflect on the text. We identify three types of reactions to the text: categorization of the relationship as abusive, an appreciation for the power of the woman protagonist to change her lover for the "better," and a focus on the gendered inequities in the romantic relationship, yet simultaneously feeling aroused by the sexual content. In theorizing the third reaction, we introduce the concept of erotic ambivalence to explain how even as some women seek to escape into the world of the erotic, they must often balance this desire within the gendered inequities featured in storylines. Our findings suggest that women are critical of sexist tropes in fiction, and these critiques might vary ethnoracially. [ABSTRACT FROM AUTHOR]

From persiflage to pornographic literature, everything in Junimea is an alternative form of discourse deconstructing to the official one. The cultural society from Iași chooses a “lateral” way of representation, moving on a line parallel to the main one. Persiflage is used in order to define a model of salon conversation but also as an instrument of literary criticism, and thus a stimulator of literary production: it becomes a technique of the critical performance, a characteristic evaluative gesture. Originating in the core of the critical act, this lateral thread almost engages a manifest dissent - which will then be emphasized by its emergence in the profane, detabooed forms of pornographic literature. Representing itself on such a lateral thread, Junimea makes possible the construction of its image as a Balkan, Eastern society; and therefore as a particular, local way of life. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Anbar University for Languages & Literature / Magallat Gami'at Al-Anbar Li-Lugat Wa-al-Adabl is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

There is a widely held belief that the amount and intensity of transgressive content in pornography have been rising. Reliably assessing for such an increase, however, is complicated by methodological factors including hand-coding content using conflicting a priori definitions of what constitutes transgressive content. In response to those limitations, the present study used the results of a published empirical content analysis of ~250,000 erotic stories written over 16 years to determine if the amount or popularity of transgressive content (stories high in the themes of violence, family (incest), or BDSM) has changed in that timeframe. Results from the present study indicated no meaningful increase in either the amount of content with those themes or popularity (as measured by story views per day) of any of the three transgressive themes within the erotic narratives over the 16-year period of analysis. These results, in addition to recent research presenting similar findings within pornographic video, do not support popular perceptions that erotic material is becoming increasingly transgressive. Rather, such content within internet-based erotic material, and particularly erotic narratives, appears to be relatively consistent. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Mexique is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 history of Catullus' reception has been one of exclusion as much as inclusion. Since the seventeenth century, many Anglophone writers have used Catullus as inspiration for their translations, poetic adaptations, and novels. A great deal of these works occluded the role that male homoeroticism played in the Latin poems, especially by omitting Catullus' male love object, Juventius. Writers have employed various techniques to deal with Catullus' 'problematic' pagan mores: choosing to ignore the suite of poems associated with homoeroticism (for example, Wilder 1948); bowdlerising homoerotic language (such as Nott 1795, Cranstoun 1867, and Macnaghten 1899); and performing 'gender swaps' to portray male-male relationships as male-female (a technique employed to memorable effect by de La Chapelle in 1680, and later by Lamb in 1821). Excision of whole poems or bowdlerisation of obscene terms was also often used to deal with Catullus' depictions of male-on-male sexual violence, a topic regularly entwined with the gentler homoerotic content. This article surveys, analyses, and explains this aspect of Catullus' reception in English from 1659–1915. [ABSTRACT FROM AUTHOR]