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Papers presented at a conference on "Textual Intersections in the Nineteenth Century: European Literatures, Histories, and Arts" held at Cardiff University in July 2001.
Befriending Our Desires portrays the intimate connection between desire and the spiritual journey. Philip Sheldrake explores the role of desire in relation to God, prayer, sexuality, making choices, and responding to change.
In Vagaries of Desire, Timo Airaksinen develops a new philosophical account of desire understood as mental state that focuses on a desirable possible world. Literary and philosophical themes, including sexuality, are discussed in terms of their metaphoric and metonymic features.
This wonderfully small, thick book--like a box of photos--is divided up into the following categories: bonds (between partners and family members), icons (say, Jane Fonda as Barbarella), observations of glimpsed love or lust, come-ons to further naughtiness, tokens (mostly flowers juxtaposed with women), libidos (lusty acts), reveries (erotica), and obsessions (the sexual unusual). The international array of photographers includes Man Ray, Robert Mapplethorpe, Nan Goldin, Helmut Newton, Sally Mann, Immogen Cunningham, Brassai, and Julia Margaret Cameron. After a lengthy introduction on the history of photography and desire, there's nothing but photos there-on-in. You might just get aroused, or fascinated as to how others are aroused, or intrigued as to how far people go to arouse others. Ewing is director of the Musee de l'Elysee in Lausanne, Switzerland. Annotation copyrighted by Book News Inc., Portland, OR
In the 19th and early 20th centuries, the Arabic-speaking regions of the Ottoman Empire saw a crucial change in attitudes towards sexuality. Notions of 'respectability', 'propriety' and 'sexual morality' were being transformed in literary and cultural discourses, a shift that was related to the gradual rise in anti-Ottoman Arab nationalism. However, contemporary Orientalists such as Sir Richard Burton and T.E. Lawrence were oblivious to certain aspects of this process of cultural reconfiguration. While accounts of male-love poetry (ghazal al-mudhakkar) were being gradually expurgated from the Arab literary heritage, elaborate narratives of Oriental homoerotic desire distinctively characterise the encounters of both Burton and Lawrence with the Arab East. By comparing their literary and autobiographical accounts of the Arab Orient with contemporary Arabic literature, Feras Alkabani is able to expose this critical disparity in cross-cultural portrayals of sexual morality and homoerotic desire. Alkabani relates the conflicting agendas of contemporary Orientalists and Arab scholars to the shifts in international imperial power relations and the eventual collapse of the Ottoman Empire. His detailed comparative study reveals the significance of homoerotic desire within Orientalist and Arab literary discourses at a time when the meaning and connotations of poetic male-love were undergoing a critical change in Arab culture and literature. It will prove invaluable for those researching Orientalism, nationalism, imperialism and manifestations of homoerotic desire in the fin-de-siècle Middle East.
Published to accompany a major transatlantic exhibition of international Surrealism, this lavishly illustrated catalog explores desire in Surrealist art through both words and images. 284 color plates.
Desire can take many forms. Hegel related desire to acceptance, Nietzsche to power, and Freud to the erotic. In novels and plays by Gustave Flaubert, Marcel Proust, F. Scott Fitzgerald, and Arthur Miller and music by Lana Del Rey, desire operates in a complex, slippery way that eludes philosophical and psychoanalytic attempts to pin it down. These and other great works of literature corroborate René Girard’s understanding of desire as taking shape “according to the other’s desire.” The mimetic approach frees desire from the preconceptions of both subject- and object-oriented psychologies and puts literary criticism in touch with the concrete substance of fictional narratives. Drawing on both modern masterpieces and iconic works of contemporary pop culture, Per Bjørnar Grande sketches a Girardian phenomenology of desire, one that sheds new light on the frustrating and repetitive nature of human relations in a world of vanishing taboos.
Putting forward a new theory of fetishism - alternative fetishism - this book provides an up-to-date examination of the work of Jeanette Winterson, offering fresh perspectives and new insights on the topics of gender, sexuality, and identity in her writing. Combining contemporary theories in psychoanalytical and cultural studies, it proposes that a rethinking of fetishism allows Winterson's works to be brought into sharper critical focus by repositioning fetishism as a daily practice in society. In so doing, it argues that Winterson's work challenges orthodox, normative, and contemporary views of fetishism to reveal her own alternative version. Containing the transcript of an email Q&A with Winterson herself and covering the majority of Winterson's oeuvre, from her first novel, Oranges Are Not the Only Fruit (1985), up to the most recent, Frankissstein (2019), the book is divided into three main chapters that each discuss a particular theme in Winterson's fiction: bodily fetishism, food fetishism, and sexual fetishism. While the book's focus is on Winterson, the theoretical framework it proposes can be applied to other authors and disciplines in the Arts and Humanities, such as theatre and film, offering new ways of thinking about topics such as fetishism, feminism, psychoanalytical theory, postmodernism, gender, and sexuality.
This book explores the construction of male sexuality in nineteenth-century American literature and comes up with some startling findings. Far from desiring heterosexual sex and wishing to bond with other men through fraternity, the male protagonists of classic American literature mainly want to be left alone. Greven makes the claim that American men, eschewing both marriage and male friendship, strive to remain emotionally and sexually inviolate. Examining the work of traditional authors - Hawthorne, Poe, Melville, Cooper, Irving, Stowe - Greven discovers highly untraditional and transgressive representations of desire and sexuality. Objects of desire from both women and other men, the inviolate males discussed in this study overturn established gendered and sexual categories, just as this study overturns archetypal assumptions about American manhood and American literature.
William L. Newell presents a comprehensive analysis of René Girard’s work on the origins of culture and the depths of human desire. Girard makes no claim toward a theory of religion, but he lays the groundwork for a postmodern theory of it. Girard’s desire concerns fallen humanity, those insanely imitating what they lacked, and his use of the Bible brings back into play the idea of the holy in secular academia. Newell challenges Girard’s interpretation of Jesus’s Passion as non-sacrificial and he offers a close reading of Girard’s works on mimetic desire, scape-goating, and sacrifice, and Newell creates breakthrough theology on Jesus in the Excursus. Girard makes no claim to having a theory of religion, but he lays the groundwork for a postmodern theory of it, and in this book, Newell seeks to begin a theory of “the end of the sacred” and what will be in its place: the holy.