Since the early fourteenth century, scholars, playwrights and screenplay writers have translated and reinterpreted Marie de France's Lanval. This lai in is the second most frequently translated throughout the medieval era and it continues to be reimagined and retold. All of the translations and reimagined renditions of the Lanval story have in common a strange tonality of otherworldly attraction, unusual gender dynamics, a curious new age aura, and elements of proto-feminism especially in terms of female agency, empowerment and eroticism. While some of these motifs seem to reflect more modern understandings of gender dynamics and conceptualizations of women, a critical analysis of Marie's original text in combination with an exploration of Celtic sources reveals that these motifs were always already present. These elements, stemming from Celtic oral traditions and finding their way across the often unnavigable barriers of time, culture, language, re-adaptation, and genre, establish Marie's Lanval as timeless. / Master of Arts

Guided by Simone de Beauvoir’s famous essay “Must We Burn Sade” in which she highlights Sade’s ability to recognize the relationship of the erotic act to human existence, this thesis seeks to observe Sade’s influence on the work of the high-postmodernist writer, John Hawkes. Although Hawkes has largely been left out of the recent conversations regarding postmodernism, I believe that the explicit and often aberrant sexuality depicted in his work demonstrates an understanding of the potential for sexuality to communicate the socio-cultural issues important to a society and merits Hawkes’s inclusion in the postmodern canon.

In the first part the thesis deals with the definition and characteristics of the time period of the turn of the 19th and 20th century and intends to show the change in the perception of world and man and their psyche in the context of the new sexuality concept. The second part focuses on homoeroticism in the sexology of that time and its position in contemporary literary science, particularly in the work of Thomas Mann. In the last part the analysis of the three literary texts - "Death in Venice" by Thomas Mann, " The Confusions of Young Torless" by Robert Musil and Arthur Schnitzler's "Fräulein Else"- appears in order to explain the function of abnormal sexuality, specifically homoeroticism and autoeroticism, in German prose of the 19th and 20th century.

Num momento em que os livros sobre as sociedades árabe-islâmicas colocam mulheres com burquc e véus em suas capas, impõe-se buscar elementos que amparem a discussão sobre sexualidade e misoginia. Este trabalho pretende discutir de que forma as fontes sexuais e eróticas da sociedade árabe-islâmica clássica, nos séculos XII e XIII, relacionam-se e respondem à religião, e como pensam o feminino. Após sistematização das prescrições corânicas quanto à sexualidade e à mulher, dois textos erótico-sexuais serão analisados: As Fontes do Prazer, de Al-Sayyid Hrn Ibn ©usayn Al-Maæzm provavelmente escrito no século XII d.C./VI H. , e As Delícias dos Corações com o que não se encontra em livro algum, de A¬mad Al-Tf, elaborado no século XIII d.C./VII H. Por ser a medicina um lugar de diálogo para estas obras, as indicações médicas sobre o corpo serão questionadas a partir da obra (Al-Qnn f Al-Æibb), O Cânone de Medicina, de Ibn Sn / At a time when the books about the Arab-Islamic societies show women with burquc and veils in their covers, it is necessary to seek for subsidies that sustain the discussion about sexuality and misogyny. This paper will discuss how the sexual and erotic sources of the classic Arab-Islamic society (XII and XIII centuries) think about the religion and the feminine. After a systematising of the premisses of the Koran about the sexuality and about the woman, two erotic-sexuals texts will be analyzed, As Fontes do Prazer, from Al-Sayyid Hrn Ibn ©usayn Al-Maæzmi - probably written in the XII century AD/VI H. -, and Les Delices des coeurs, Ce que lon ne trouve en aucun livre, from A¬mad al-Tf - produced in the XIII century AD/VII H. Being the medicine a place of dialogue for these works, the medicals indications about the body will be questioned from the work (Al-Qnn f Al-Æibb), The Canon of Medicine of Ibn Sina

O presente estudo pretende abrir três caminhos possíveis para a compreensão da obra da artista franco-americana Louise Bourgeois (1911-2010). Para isso, primeiramente aborda a relação entre vida e obra em seu trabalho, percorrendo escritos, obras visuais e retratos, rediscutindo o estatuto da noção de autoria em seu trabalho. Em seguida, busca mostrar a peculiaridade da erótica da artista, elemento chave para o estabelecimento entre público e obra. Por fim, examina a inserção de Bourgeois na vaga primitivista presente na implantação do modernismo em solo norte-americano. / This study intends to open three possible approaches to the understanding of the work of the French-American artist Louise Bourgeois (1911-2010). To do this, first it discusses the relationship between life and art in her work, traversing her writtens, visual works and portraits, revisiting the status of the of authorship in her work. Then seeks to show the peculiarity of the artist s erotica, key to her comprehension of the relacionship between art and public. Finally, it examines her integration in the deploying of primitivist modernism in United States.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-06-01T12:04:07Z No. of bitstreams: 1 ALESSANDRA MARIA SILVA.pdf: 1497420 bytes, checksum: ad63d5cf79420ff5aed4377a8118c768 (MD5) / Made available in DSpace on 2017-06-01T12:04:07Z (GMT). No. of bitstreams: 1 ALESSANDRA MARIA SILVA.pdf: 1497420 bytes, checksum: ad63d5cf79420ff5aed4377a8118c768 (MD5) Previous issue date: 2017-03-15 / Even today, Erotism and Pornography are often disqualified in the literary sphere. The analysis and study of works such as Hilda Hilst's The Pink Notebook by Lori Lamby comes against all the pertinent and classificatory reasons of these elements with literaryness. Scholars such as Sigmund Freud, Susan Sontag, Dominique Mainguenau, Georges Bataille, among others, prove all the literary veracity that makes up this work. Semiotic science aided the whole analysis, transposing in this work the elucidation of this research, that is, it responds to us that Erotism and Pornography are constituent elements of literature, in which they promote a partnership with the others to authenticate their gender, in a sense Congruent with any other. Also the comparison of this work with others, some similar and others different, was a method of truthful discovery proposing an inevitable result in view of the manifestation of literary characteristics that are not let slip. / Ainda hoje muitas vezes o Erotismo e a Pornografia encontram-se desclassificadas no âmbito literário. A análise e estudo de obras como O Caderno Rosa de Lori Lamby de Hilda Hilst vem de encontro com todas as razões pertinentes e classificatórias destes elementos com a literariedade. Estudiosos como Sigmund Freud, Susan Sontag, Dominique Mainguenau, Georges Bataille, entre tantos outros comprovam toda a veracidade literária que compõe esta obra. A ciência semiótica auxiliou toda a análise, transpondo neste trabalho a elucidação desta pesquisa, ou seja, ela nos responde que o Erotismo e a Pornografia são elementos constituintes da literatura, na qual promovem uma parceira com os demais para autenticar o seu gênero, num sentido congruente com qualquer outro. Também a comparação desta obra com outras, algumas similares e outras distintas, foi um método de descoberta verídico propondo um resultado inevitável tendo em vista a manifestação de características literárias que não se deixam escapar.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-22T16:02:08Z No. of bitstreams: 1 Thaís Teixeira Dias da Conceição.pdf: 17444578 bytes, checksum: 4bc535cb2814781a55f14574c8aeee31 (MD5) / Made available in DSpace on 2016-11-22T16:02:08Z (GMT). No. of bitstreams: 1 Thaís Teixeira Dias da Conceição.pdf: 17444578 bytes, checksum: 4bc535cb2814781a55f14574c8aeee31 (MD5) Previous issue date: 2016-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis named O vazio como significante do erotismo [Emptiness as the significant of erotism] addresses the theme of erotism, aiming to demonstrate how this concept is related to the practice of psychoanalysis and the effects of the encounter-mismatch with the patient Under the academic research perspective in fundamental psychopathology and clinical method of psychoanalysis, the analytic experience is considered as a basis for consideration on the hassle triggered in the analyst. Leaning over the transference aspects involved in the clinical case, we seek an understanding for what was perceived as enigmatic in the encounter with the patient. Not finding a supposed demand, the analyst perceives himself immersed in the failure of his expectations regarding the purpose to intervene. Have not being accepted the expected effects of his interpretations, the words seem to be released on a sterile field. As a reaction to anxiety, the analyst throws himself in an impulse of an erotic character, which bursts through the encounter with the void and is directed to completeness. Support the void, which is the space for the listening devoted to patient, it seems unsustainable, so the eroticism lends itself to fill that hole perceived as threatening by the analyst. What was still presented as unspeakable, affecting the analyst, it was transitioning in a space in which the pathos gradually enriched the research, becoming logos. Thus, the unveiling of the transferential content shows itself as relevant for the transmission of this research, which values the singularity in the meeting proposed by the analytic situation / Nesta dissertação intitulada O vazio como significante do erotismo é abordada a temática do erotismo, visando demonstrar como esse conceito está atrelado à prática psicanalítica e aos efeitos do encontro-desencontro com o paciente. Sob a perspectiva acadêmica de pesquisa em Psicopatologia Fundamental e o método clínico da psicanálise, considera-se a experiência analítica a base para reflexões sobre o incômodo desencadeado no analista. Busca-se, ao se debruçar sobre os aspectos transferenciais envolvidos no caso clínico, uma compreensão para o que foi sentido como enigmático no encontro com o paciente. Diante do não encontro de uma suposta demanda, o analista se percebe mergulhado no fracasso de suas expectativas com relação ao propósito de intervir. Não sendo admitidos os efeitos esperados de suas interpretações, as palavras parecem remetidas a um campo estéril. Como reação à angústia, o analista se lança em um impulso de caráter erótico, que irrompe pelo encontro com o vazio e direciona-se à tentativa de completude. Suportar o vazio, que deveria se prestar à escuta do paciente, mostra-se insustentável, e o erotismo se apresenta a preencher esse buraco percebido pelo analista como ameaçador. O que ainda se apresentava inominável, afetando o analista, transitava em um espaço no qual o pathos gradativamente enriqueceu a investigação, tornando-se logos. Assim, o desvelar de conteúdos transferenciais adquire relevância para a transmissão desta pesquisa, que valoriza o encontro singular da situação analítica

How do Victorian novels, those detailed imaginative records of psychic interiority and social life, put into language the aspect of our interior lives that seems most stubbornly nonlinguistic: that is, the insistent claims and impulses of erotic desire? If Victorian culture valued reason and accountability over sheer erotic fulfillment, and at the same time represented love and desire as important social experiences, then how did the Victorian novel represent the process of reasoning about desire without diluting its intensity or making it mechanical? In "Bad Logic," I argue that a surprising array of novelists, including Jane Austen, Charlotte Brontë, Anthony Trollope, George Eliot, George Meredith, and Henry James, registered the troublesome opacity of erotic life by experimenting with forms of "bad logic," from hasty conclusions to contradictions to tautologies, and finally to the ethical and erotic possibilities of vagueness. These forms bring into view the limitations of logic as a rubric for moral accountability, while at the same time they work as ironic and tacit ways of speaking and thinking about erotic desire. In other words, in the Victorian novel, the singular, embodied feelings of erotic life are imagined not as ineffable, nonsocial, or fully beyond the explanatory powers of logic and the rational mind. Rather, erotic desires represent a profound depth of psychic and affective life that, even in its resistance to sound propositional language, wants to be understood. The resurgence of interest in theories of logic in nineteenth-century England was in fact intimately related to the philosophical problem of the deep, idiosyncratic self that seems to exceed scientific knowledge about thought and its structures, but which nonetheless guides so much of psychic, ethical, and erotic life. Philosophers and social critics as diverse as Thomas Carlyle, John Stuart Mill, George Boole, and George Eliot took up the stubborn problem of logic and its complex relationship to character. But it was the realist novel, I argue, that allowed for the fullest development of this problem through its own strategies for developing fictional character and representing the fullness of psychic and affective life and its often difficult social expression. That the Victorians talked and wrote endlessly about sex and sexuality, in a variety of medical, scientific, sociological, and psychological vocabularies, has been taken for granted since Foucault provided us with our most enduring account of the Victorian "logic of sex." With "Bad Logic," I enter into an ongoing reappraisal of Foucault's influence on the study of sexuality by suggesting that the Victorian impulse toward talking about and representing sexuality and desire may have had a more complex rationale than a utilitarian desire to manage and regulate sexual behaviors. Foucault's late work turned to sexual practice or ethos as a potentially utopian alternative to the "discourse" of sexuality, and yet I argue that novelistic representations of eroticism in language can extend well beyond issues of social power and regulation. Rather, they insist upon the ethical significance of erotic life and upon the importance of balancing the imperatives of rationality against the imperatives of idiosyncrasy. They take seriously, in other words, the difficulties of registering the impulses of the body in language. In addition, "Bad Logic" takes a new approach to a very old question in the study of the novel: how does this genre balance idiosyncrasy with social compromise, or assimilate the individual consciousness to the historically specific social pressures that necessarily shape it? Many critics have answered this question either by detailing the ways in which the novel form itself habituates the individual to ideology (Bersani, Armstrong, D. A. Miller), or on the other hand by showing that some normative models of social intelligibility, such as the liberal ideal of detachment or the ethical ideal of perfectionism, are not incompatible with a powerful model of individual agency (Anderson, Hadley, A. Miller). In "Bad Logic," I propose that in the Victorian novel, even the opacity of erotic life finds its way into models of sociability. Moreover, I show that novelists struggle to make their theories of ethical responsibility capacious enough to accommodate the insistent pressure of erotic desire as it tries to make itself heard.

The purpose of this research was to identify the contributors to optimal sexual experiences. At present, there is a lack of clinical knowledge, research knowledge and in-depth public discourse concerning the nature of healthy sexuality. The theoretical and research literature in this area has focused almost exclusively on defining and conceptualizing sexual dysfunctions with little attention paid to either normal or satisfactory experiences. Very little theory exists on the nature and components of optimal sexuality. To date, no empirical investigations have been done to determine the contributors to optimal sexual experiences. In order to identify the contributors to optimal sexual experiences, semi-structured interviews were conducted with 12 individuals who reported having experienced “great sex”. A phenomenologically-oriented content analysis was performed on interview transcripts to determine the contributors to optimal sexual experiences. Analysis led to the identification of seven major contributors, two pathways towards optimal sexual experiences and two minor contributors. The major contributors included developmental contributors, individual qualities overall, individual qualities in-the moment, skills, relationship qualities overall, relationship qualities in-the-moment and environmental, situational and preparatory contributors. Each of these larger themes was also characterized by a variety of more specific themes. The two pathways that led to optimal sexual experiences included individual qualities that facilitated relationship qualities and relationship qualities that facilitated individual qualities. Finally, the minor contributors consisted of personal proclivities and miscellaneous contributors. Noteworthy findings of this investigation are discussed and then compared and contrasted with existing research and theory. The implications of this work for the general public, sex therapy, sex education, theory and research are considered as well as the strengths and limitations of this study.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.