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Drawing on over 20 years of teaching a philosophy course on love, sex, and freedom, Waddell walks a single erotic experience through the perspectives of four French philosophers, and adds his own. His goal is to situate the ideas of Sartre, Merleau- Ponty, Levinas, and Irigaray in the realm of physical, emotional, and psychic detail in order to make sense of erotic perception. Annotation copyrighted by Book News, Inc., Portland, OR
With Sartre, Merleau-Ponty was the foremost French philosopher of the post-war period. What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.
Drawing on over 20 years of teaching a philosophy course on love, sex, and freedom, Waddell walks a single erotic experience through the perspectives of four French philosophers, and adds his own. His goal is to situate the ideas of Sartre, Merleau- Ponty, Levinas, and Irigaray in the realm of physical, emotional, and psychic detail in order to make sense of erotic perception. Annotation copyrighted by Book News, Inc., Portland, OR
Buddhist philosophy of Anicca (impermanence), Dukkha (suffering), and
Drawing on the original phenomenological work of Maurice Merleau-Ponty, Edmund Husserl, Simone de Beauvoir, and John Russon, as well as recent research in child psychology, The Other in Perception argues for perception's inherently existential significance: we always perceive a world and not just objective facts. The world is the rich domain of our personal and interpersonal lives, and central to this world is the role of other people. We are "paired" with others such that our perception is really the enactment of a coinhabiting of a shared world. These relations with others shape the very way in which we perceive our world. Susan Bredlau explores two uniquely formative domains in which our pairing relations with others are particularly critical: childhood development and sexuality. It is through formative childhood experience that the essential, background structures of our world are instituted, which has important consequences for our developed perceptual life. Sexuality is an analogous domain of formative intersubjective experience. Taken as a whole, Bredlau demonstrates the unique, pervasive, and overwhelmingly important role of other people within our lived experience.
In this profoundly original and far-reaching study, Robert M. Polhemus shows how novels have helped to make erotic love a matter of faith in modern life. Erotic faith, Polhemus argues, is an emotional conviction—ultimately religious in nature—that meaning, value, hope, and even the possibility of transcendence can be found in love. Drawing on a wide range of disciplines, Polhemus shows the reciprocity of love as subject, the novel as form, and faith as motive in important works by Jane Austen, Walter Scott, the Brontës, Dickens, George Eliot, Trollope, Thomas Hardy, Joyce, D. H. Lawrence, Virginia Woolf, and Samuel Beckett. Throughout, Polhemus relates the novelists' representation of love to that of such artists as Botticelli, Vermeer, Claude Lorrain, Redon, and Klimt. Juxtaposing their paintings with nineteenth- and twentieth-century texts both reveals the ways in which novels develop and individualize common erotic and religious themes and illustrates how the novel has influenced our perception of all art.
Alan Moore, the idiosyncratic, controversial and often shocking writer of such works as Watchmen, The League of Extraordinary Gentlemen, and V for Vendetta, remains a benchmark for readers of comics and graphic novels. This collection investigates the political, social, cultural, and sexual ideologies that emerge from his seminal work, Lost Girls, and demonstrates how these ideologies relate to his larger body of work. Framed by Moore's insistence upon deconstructing the myth of the superhero, each essay attends to the form and content of Moore's comics under the rubric of his pervasive metaphor of the "politics of sexuality/the sexing of politics."
This unique study of sexuality and society offers a provocative reframing of the subject—including what the author calls a periodic table of perversions. In Smut, Murray S. Davis investigates sex in a way that differs from nearly all previous books on the subject. Discarding the simplistic theory of sex as a natural instinct, he sets out to develop new explanations for its universal appeal. Drawing on a wide variety of literary forms, including the work of novelists, poets, and even comedians—and exploring everything from theology to pornography—Davis recaptures sex for the social sciences. First, Davis examines the difference between sexual arousal and ordinary experience, arguing that arousal alters a person's experience of the world. Positing an erotic reality distinct from everyday life, he demonstrates how different perceptions of time, space, human bodies, and other social types occur in each realm. Davis then asks why some people find this alternation between realities dirty, and offers a periodic table of perversions that summarizes the social elements out of which those who find sex dirty construct their world. Finally, Davis considers other conceptual grids affected by the alternation between everyday and erotic realities: the pornographic, which portrays individual, social relations, and social organizations being disrupted by sex; and the naturalistic, which conceives of them in a way that cannot be disrupted by sex. Throughout history these ideologies have battled for control over Western society, and, in his conclusion, Davis offers a prognosis for the future of sex based on these historical ideological cycles.
Drawing on and developing the phenomenological work of figures such as Edmund Husserl and Max Scheler, Knowing by Heart: Loving as Participation and Critique provides an account of the various feelings and feeling‐states that pertain to matters of the heart. Anthony J. Steinbock’s work investigates the special kind of knowing that is revealed most profoundly through love. Knowing by Heart describes the movement of loving as a participation that bears on all beings. Eschewing the dichotomy of rationalism and sensibility that has dominated discussions of love and emotion, Steinbock understands the heart as a vast schema ranging from the deepest loving to affects and felt conditions. The book brings into focus the importance of a full‐bodied relational account of a normative critique based in emotion. From a phenomenological description of diverse feelings to the normativity of loving as the discernment of the heart, this work evaluates hating’s relation to loving. At the basis of all this is a phenomenological and philosophical anthropology in response to the basic question: In reality, who and what are we?