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Early modern Spanish literature is remarkably rich in erotic texts that conventionally chaste critical traditions have willfully disregarded or repudiated as inferior or unworthy of study. Nonetheless, eroticism is a lightning rod for defining mentalities and social, intellectual, and literary history within the nascent field that the author calls erotic philology. An Erotic Philology of Golden Age Spain takes sexuality and eroticism out of the historical closet, placing them at the forefront of early modern humanistic studies. By utilizing theories of deviance, sexuality, and gender; the rhetoric of eroticism; and textual criticism, An Erotic Philology of Golden Age Spain historicizes and analyzes the particular ways in which classical Spanish writers assign symbolic meaning to non-normative sexual practices and their practitioners. It shows how prostitutes, homosexuals, transvestites, women warriors, and female tricksters were stigmatized and marginalized as part of an ordering principle in the law, society, and in literature. It is against these sexual outlaws that early modern orthodoxy establishes and identifies itself during the Golden Age of Spanish letters. These eroticized figures are recurring objects of contemplation and fascination for Spain's most canonical as well as lesser known writers of the period, in a variety of poetic, prose and dramatic genres. They ultimately reveal attitudes towards sexual behavior that are far more complex than was previously thought. An Erotic Philology of Golden Age Spain thoughtfully anatomizes the interdisciplinary systems at the heart of the varied sexual behaviors depicted in early modern Spanish literature.
A preface is best written last, after a book is done and its author may look back to survey what he hopes he has accomplished and what he must admit he has not. In hindsight virginity by itself has seemed a very large field to till, but with that reflection also comes a sense of the awareness that a really comprehensive treatment of misgiving, that subject would somehow have to encompass an enormous ter rain, the whole length and breadth of Christianity's attitude toward sexuality from the earliest times down to the high Middle Ages. It could be argued that no small book could cover so much ground, and I would be the first to agree. As its subtitle is meant to suggest, the present work is, in at least two senses of the word, an essay: both an initial and tentative effort to get at the meaning of an extremely important but as yet unprobed medieval belief in the perfective value of the virginal life; and an interpretive study of a complex subject from a limited point of view, specifically, that in which the virgin appears in devotional literature as the bride of Christ.
Apreface is best written last, after a book is done and its author may look back to survey what he hopes he has accomplished and what he must admit he has not. In hindsight virginity by itself has seemed a very large field to till, but with that reflection also comes a sense of misgiving, the awareness that a really comprehensive treatment of that subject would somehow have to encompass an enormous ter rain, the whole length and breadth of Christianity's attitude toward sexuality from the earliest times down to the high Middle Ages. It could be argued that no small book could cover so much ground, and I would be the first to agree. As its subtitle is meant to suggest, the present work is, in at least two senses of the word, an essay: both an initial and tentative effort to get at the meaning of an extremely important but as yet unprobed medieval belief in the perfective value of the virginal life; and an interpretive study of a complex subject from a limited point of view, specifically, that in which the virgin appears in devotional literature as the bride of Christ.
What defines a modern short story is much more than a question of length. Despite the efforts of early pioneers like Edgar Allan Poe, the genre was originally synonymous with the anecdote or tale and seen more as entertainment than art. However it has become far more than that, and this Very Short Introduction considers afresh the form's ongoing innovations in plot construction, capacity for psychological insight, and ability to offer intensely concentrated perceptions. This book charts the rise of the short story from its original appearance in magazines and newspapers, largely in the United States and Great Britain. For much of the nineteenth century, tales were written for the press, and the form's history is marked by engagement with popular fiction. From the later nineteenth century, the short story earned a reputation for its skillful use of plot design and character study distinct from the novel. After the First World War it found outlets in high-brow publications, and single-author collections, as well as anthologies, were regularly published. Exploring the form's techniques and themes, Andrew Kahn considers the continuity and variation in key structures and techniques such as the beginning, the creation of voice, the ironic turn or plot twist, and how writers manage endings. Throughout he draws on examples from an international and flourishing corpus of work, with close analysis of classic and lesser-known stories by American, Canadian, Irish, Australian, Russian, and French masters such as James Baldwin, Grace Paley, Alice Munro, Elizabeth Taylor, William Trevor, Helen Garner, Chekhov, and Guy de Maupassant. Very Short Introductions: Brilliant, Sharp, Inspiring ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
"Throughout history, the religious imagination has attempted to control nothing so much as our bodies: what they are and what they mean; what we do with them, with whom, and under what circumstances; how they may be displayed-or, more commonly, how they must be hidden. Religious belief and mandate affect how our bodies are used in ritual practice, as well as how we use them to identify and marginalize threatening religious Others. This book examines how horror culture treats religious bodies that have stepped (or been pushed) out of their 'proper' place. Unlike most books on religion and horror, This book explores the dark spaces where sex, sexual representation, and the sexual body come together with religious belief and scary stories. Because these intersections of sex, horror, and the religious imagination force us to question the nature of consensus reality, supernatural horror, especially as it concerns the body, often shows us the religious imagination at work in real time. It is important to note that the discussion in this book is not limited either to horror cinema or to popular fiction, but considers a wide range of material, including literary horror, weird fiction, graphic storytelling, visual arts, participative culture, and aspects of real-world religious fear. It is less concerned with horror as a genre (which is mainly a function of marketing) and more with the horror mode, a way of storytelling that finds expression across a number of genres, a variety of media, and even blurs the boundary between fiction and non-fiction. This expanded focus not only deepens the pool of potential examples, but invites a much broader readership in for a swim"--
This book examines Origen of Alexandria's approach to the Bible through a biographical lens, focusing on his account of the scriptural interpreter. Martens explores the many ways in which Origen thought ideal scriptural interpreters (himself included) embarked upon a way of salvation, culminating in the everlasting contemplation of God.
"In a career spanning over six decades, the New York art dealer Pierre Matisse (1900-1989) contributed substantially to the advancement of modern art. At his eponymous gallery on East Fifty-seventh Street, he showed several now legendary artists for the first time outside Europe. The collection--paintings, sculpture, and drawings by Balthus, Bonnard, Chagall, Derain, Dubuffet, Giacometti, Magritte, and the dealer's own father, Henri Matisse, among others--was donated to The Metropolitan Museum of Art in 2004 by the foundation established by his widow. These extraordinary artworks are presented with informative entries addressing the circumstances of each work's creation and the dealer's relationship to the artist. In the introduction, the story of Pierre Matisse's early struggles in New York is told for the first time and illustrated with previously unpublished archival photographs."--Provided by publisher.
Religion and sex, body and soul, sacred and profane: In Closet Devotions, Richard Rambuss traces the relays between these cultural formations by examining the issue of "sacred eroticism," the literary or artistic expression of devotional feelings in erotic terms that has repeatedly occurred over the centuries. Rather than dismissing such expression as mere convention, Rambuss takes it seriously as a form of erotic discourse, one that gives voice to desires that, outside the sphere of sacred rapture, would otherwise be deemed taboo. Through startling rereadings of works ranging from the devotional verse of the metaphysical poets (Donne, Herbert, Crashaw, and Traherne) to photographer Andres Serrano's controversial "Piss Christ," from Renaissance religious iconography to contemporary gay porn, Rambuss uncovers the highly charged erotic imagery that suffuses religious devotional art and literature. And he explores one of Christian culture's most guarded (and literal) closets--the prayer closet itself, a privileged space where the vectors of same-sex desire can travel privately between the worshiper and his or her God. Elegantly written and theoretically astute, Closet Devotions illuminates the ways in which sacred Christian devotion is homoeroticized, a phenomenon that until now has gone unexplored in current scholarship on religion, the body, and its passions. This book will attract readers across a wide array of disciplines, including gay and lesbian studies, literary theory and criticism, Renaissance studies, and religion.
“The Dread of Difference is a classic. Few film studies texts have been so widely read and so influential. It’s rarely on the shelf at my university library, so continuously does it circulate. Now this new edition expands the already comprehensive coverage of gender in the horror film with new essays on recent developments such as the Hostel series and torture porn. Informative and enlightening, this updated classic is an essential reference for fans and students of horror movies.”—Stephen Prince, editor of The Horror Film and author of Digital Visual Effects in Cinema: The Seduction of Reality “An impressive array of distinguished scholars . . . gazes deeply into the darkness and then forms a Dionysian chorus reaffirming that sexuality and the monstrous are indeed mated in many horror films.”—Choice “An extremely useful introduction to recent thinking about gender issues within this genre.”—Film Theory
Music, whether performed or heard, has been seen as therapeutic in the history of many cultures. How have its therapeutic properties been conceptualized and explained? Which cultures have used music therapy? What were their aims and techniques, and how much continuity is there between ancient, medieval and modern practice? These are the questions addressed by the essays in this volume. They focus on the place of music therapy in European intellectual, medical and musical traditions, from their classical roots to the development of the music therapy profession since the Second World War. Chapters covering the Judaic, Islamic, Indian and South-East Asian traditions add global, comparative perspectives. Music as Medicine is the first book to establish the whole shape of the history of music therapy in a systematic and scholarly way. It addresses the problem of defining what music therapy has meant in different cultures and periods, and sets the agenda for future research in the subject. It will appeal to a diverse readership of historians, musicologists, anthropologists, and practitioners.