Este ensayo se ocupa, fundamentalmente, de los conceptos de deseo, placer, voluntad, erotismo y seducción. Desde el principio, se pone en escena la pornografía como pretexto para pensar esos conceptos, teniendo claro que se trata de establecer sus relaciones, así como sus diferencias más radicales. Nuestra hipótesis es que el deseo nada tiene que ver con la satisfacción de las demandas. El deseo es un afecto mediante el cual se vincula la voluntad a los objetos de su interés, no un sentimiento producido por sus características particulares. En ese sentido es que intervienen los demás conceptos. El concepto de deseo puede ser caracterizado al tener en cuenta la experiencia interior del erotismo, al igual que el intercambio simbólico en la seducción. La investigación se divide en cuatro partes. La primera se ocupa de los conceptos de voluntad, deseo, ley. La segunda tiene que ver con la idea de que el deseo se vincula con una ambigüedad erótica siempre presente en la voluntad. La tercera parte matiza los conceptos de deseo, erotismo y voluntad sobre la experiencia del seductor de Kierkegaard. Finalmente, volvemos al tema de la pornografía para remarcar la diferencia entre placer y deseo.---From Pornography to Seduction: between Pleasure, Desire and Will”. This article is, fundamentally, about the concepts of desire, pleasure, will, eroticism and seduction. From the beginning, pornography is shown to think about these concepts, taking account that it is to establish their relations, as well as their more radical differences. Our hypothesis is that desire has nothing to do with the satisfaction of demands. Desire is an affection through which the willis related to the objects of its interest ties and not a feeling produced by its particular characteristics. It is in that sense that the other concepts are relevant. The concept of desire can be characterized when considering the inner experience of the eroticism, like the symbolic interchange of seduction. The text is divided in four parts. The first is about the concepts of will, desire and law. The second part has to do with the idea that desire always relates to erotic ambiguity always present in the will. In the third part I clarify the concepts of desire, eroticism and will upon the experience of Kierkegaard’s seducer. Finally, I return to the subject of pornography to remark the difference between pleasure and desire.

This paper investigates how Aphra Behn's The Rover and Thomas Middleton's A Chaste Maid in Cheapside complicate understandings of femininity and masculine dominance over female sexuality. The paper looks specifically at the "rake," and how he instigates questions about female identity and sexual assault. The paper also looks at the rake in regards to adulterous relationships. Finally, the paper analyzes the use of the female perspective in The Rover to highlight the importance of framing discussions about femininity and female sexuality outside of male discourse.

nÃo hà / A linguagem à compreendida como necessidade de interaÃÃo social do ser humano. Contudo, ela nÃo à usada somente para veicular informaÃÃes; a funÃÃo referencial da linguagem nÃo à senÃo uma entre outras. Entre estas, ocupa a funÃÃo de comunicar ao ouvinte a posiÃÃo que o falante ocupa de fato na sociedade. As pessoas nÃo falam somente para serem ouvidas, mas tambÃm para serem respeitadas e exercer influÃncia no ambiente comunicativo. O poder da palavra à o poder de mobilizar a autoridade acumulada pelo falante e concentrÃ-la em um ato linguÃstico. A linguagem, alÃm de servir à necessidade de comunicaÃÃo, tambÃm à utilizada pelo ser humano com o intuito de seduzir o interlocutora compartilhar as ideias, e a realizar determinadas aÃÃes, atravÃs do discurso ideolÃgico do locutor. A literatura nÃo deixa passarem despercebidas, em suas produÃÃes, essas relaÃÃes de poder, bem como o modo como o discurso foi elaborado de acordo com os interesses do produtor do ato locutÃrio. Verifica-se com frequÃncia a manifestaÃÃo do discurso erÃtico, sedutor, como tentativa de manter ou burlar o poder vigente, ou ainda como forma de tomar para si o poder, sendo comumente associada à ideia de que o homem à o opressor, elemento dominante na relaÃÃo, enquanto à mulher cabe o papel de oprimido, entidade dominada que pode ora acomodar-se, ora buscar subverter a ordem. Detendo-se especificamente ao poder que se estabelece por meio da seduÃÃo, o presente trabalho dissertativo tem por objetivo analisar as relaÃÃes de poder registradas a partir do discurso erÃtico em Um copo de cÃlera, de Raduan Nassar, delimitando o conceito de discurso erÃtico ao embate linguÃstico e ao jogo de seduÃÃo existente entre os personagens.

Orientador: Luiz Roberto Monzani / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T04:20:40Z (GMT). No. of bitstreams: 1 Isaac_JosianedePaulaLima_M.pdf: 2641487 bytes, checksum: 06a860809f4e34ceca721d2c476f7016 (MD5) Previous issue date: 2006 / Resumo: Esta dissertação tem como objetivo realizar uma leitura da obra de Sigmund Freud, principalmente dos textos escritos até 1920, orientados pelos conceitos de sedução e de fantasia. A teoria da sedução surgiu no início das formulações do pensamento psicanalítico de Freud, trazendo algumas noções fundamentais para todo o desenvolvimento posterior da teoria. Aparentemente, a sedução foi abandonada em 1897, abrindo espaço para o conceito de fantasia. A fantasia ocupou um lugar central no corpo teórico como expressão maior da realidade psíquica, e como tal, pôde ser entendida enquanto estrutura organizadora da experiência. A fantasia mostrou-se sempre articulada ao desejo, caracterizando o mundo psíquico. Por outro lado, Freud parece não abrir mão de um fundamento "real", externo ao psiquismo, que retomaria um evento original, e por isso mesmo mais efetivo. Dessa maneira, realizou-se uma discussão a respeito da relação entre realidade interna e realidade externa, tentando percorrer as várias nuances dessa relação. Por fim, rearticularam-se os conceitos freudianos de sedução e de fantasia usando as indicações de Laplanche e os textos de Freud a partir de 1933. Desse modo, foi feita uma tentativa de esclarecer as posições desses conceitos e suas articulações ao longo do pensamento freudiano / Abstract: This dissertation aims at accomplishing a reading of Sigmund Freud's work, especially of those texts written until 1920, oriented by the concepts of seduction and fantasy. The seduction theory appeared in the beginning of the formulations of Freud's psychoanalytic thought, bringing some fundamental notions for all the subsequent development of the theory. Apparently, the seduction was abandoned in 1897, making room for the concept of fantasy. Fantasy occupied a central place in the theoretical body as a major expression of psychic reality and, as such, could be understood as an organizing structure of the experience. Fantasy has always been shown as articulated to the desire, characterizing the psychic world. On the other hand, Freud seems not to give up a "real" fundament, external to the psychic world, which would resume an original, and thus more effective, event. According to this, we performed a discussion on the relation between the inner and outer realities, in an attempt to encompass the several features of this relation. At last, we rearticulated the Freudian concepts of seduction and fantasy using the indications of Laplanche and the texts of Freud from 1933 on. Accordingly, an attempt was made as to clarify the position of these concepts and their articulations throughout Freud's thought / Mestrado / Filosofia / Mestre em Filosofia

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2016-08-29T14:29:38Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Clea Lucia da silva Ossanes_Dissertacao.pdf: 523766 bytes, checksum: 8b130c38972e09d6a3cfaac891dd1ad0 (MD5) / Approved for entry into archive by Simone Maisonave (simonemaisonave@hotmail.com) on 2016-08-29T14:29:53Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Clea Lucia da silva Ossanes_Dissertacao.pdf: 523766 bytes, checksum: 8b130c38972e09d6a3cfaac891dd1ad0 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-08-30T10:47:36Z (GMT) No. of bitstreams: 2 Clea Lucia da silva Ossanes_Dissertacao.pdf: 523766 bytes, checksum: 8b130c38972e09d6a3cfaac891dd1ad0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-30T10:48:04Z (GMT). No. of bitstreams: 2 Clea Lucia da silva Ossanes_Dissertacao.pdf: 523766 bytes, checksum: 8b130c38972e09d6a3cfaac891dd1ad0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-09-16 / Sem bolsa / A dissertação apresenta um relato histórico-pedagógico, por meio da hermenêutica filosófica sobre a relação professor-aluno, considerando as estratégias de autoridade e sedução construídas através da convivência entre mestre e discípulo, desde a infância. Para tanto, após uma incursão nas principais obras do século XVII e XVIII intrinsecamente ligadas à educação das crianças, foi buscada a fundamentação teórica com a intenção de promover o diálogo pretendido e evidenciado pelos paradigmas fixados na história da pedagogia levando em conta o assunto educação ou formação das crianças. A pesquisa toma como foco principal a obra Emílio ou Da Educação, que trata da formação do indivíduo desde o seu nascimento até a fase adulta, delineando o papel do professor na construção do conhecimento junto a seu aluno. As dimensões ligadas ao conjunto de qualidades e características, com apontamentos principais em autoridade e sedução pactuadas na relação mestre-discípulo, foram mapeadas no decorrer do Emílio com o intuito de demonstrar que o trato que Rousseau propõe para com seu discípulo é ancorado em princípios de cordialidade, interesse, encantamento, atração, persuasão, autoridade e ascendência. Tendo em conta que os conceitos autoridade e sedução não são entendidos por Rousseau como o são em nosso tempo, inferimos que a contextualização dos mesmos leva-nos a perceber o quão próximos estão dos conceitos de afeto e confiança, amor e segurança, credibilidade e crença na probidade moral. O preceptor de Emílio é um ouvinte, conselheiro, digno de confiança por parte de seu aluno e, acima de tudo, alguém que tem na mão, com diretividade, o projeto de educação de seu pupilo. / This Master thesis presents a historical-pedagogical report through a philosophical hermeneutics. The focus is teacher and student?s relationship considering strategies of authority and seduction/attraction/magnetism constructed through master/mentor and disciple up to childhood. After a incursion in the main thoughts of 17th and 18th centuries, intrinsically linked to children education, we seek for the theoretical groundings intentioning to promote the dialogue evidenced by the paradigms fixed in pedagogy?s history and taking in account the subject education or children?s formation. The research takes as its main attention the book Emile or on Education, which deals with the individual?s formation since his birth until the adult age outlining teacher?s role in building knowledge with his student. The dimensions linked to the set of qualities and characteristics, with principal appointments in authority and seduction/attraction/magnetism agreed with in the relationship between teacher and student were surveyed in Emile with the purpose of demonstrating that the treatment Rousseau propose to his disciple is anchored in principles, such as cordiality, interest, enchantment, attraction, persuasion, authority and ascendancy. Taking in account that the concepts authority and seduction are not understood by Rousseau as they are in our days, we infere that such a contextualization leads us to perceive how near they are of endearment and confidence, love and security, and moral credibility. Emile?s preceptor is a hearer, an advisor, a creditworthy person and, first and last, someone who has in his hands, with directivity, the education project of his pupil.

The essay a small papper book, deals from a personel angle with different aspekts of the artist practice. Up against a suppelogik the essay jumps from subjekt to subject. The first chapter talks about the link between making a snowball and the painting process. Next chapters are working up against the paintingdialogue with the canvas, here are some historical referangser to Guston and Hans Hoffmann. After this the essay have to chapters, one about the potential of humor and one chapter about artistic seduction linked to the artistic production trying to find the border, between the necessary and seduction. / <p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet för den gestaltande delen. </p><p>The master work includes a written essay and a forming part. The alternative title is the name of the forming part.</p>

La particularité de la conduite de ruse, caractérisée par une diversité étonnante des domaines où elle se manifeste et s’applique, fait de ce phénomène d’intelligence une matière privilégiée dans la production dramaturgique de Molière. Pour soulever des questions cruciales portant sur l’aveuglement, l’imposture, le pouvoir de l’imagination et ses dérèglements, le théâtre comique de Molière construit ses intrigues en exploitant les fausses apparences, le simulacre et le décalage entre l’être et le paraître identifiés dans la pratique de la ruse. La nécessité de réduire le pouvoir tyrannique des personnages tenant les clés de la décision, ou d’atteindre une ambition prédéterminée, impose une forme d’affrontement doux et masqué mené par le personnage de la ruse. La fourberie de celui-ci s’achemine par l’insinuation dans l’esprit de la cible en adoptant une stratégie persuasive, puisée à la science de la rhétorique sophistique, et élaborée en fonction des passions de l’adversaire dans le seul but de le persuader par des inventions imaginaires susceptibles de le mettre à sa merci. Cette scène d’affrontement crée l’énergie du spectacle de la ruse grâce à la virtuosité du jeu théâtral du fourbe qui se livre à des mouvements scéniques, à des mimes, à des exaltations expressives destinés à séduire le public avant la cible. Le caractère outrancier des dupes, leurs réactions burlesques, l’amplification des performances des trompeurs permettent au public de Molière de constater les défauts de sa société, d’en rire, et de vivre des moments euphoriques offerts par la comédie de la ruse. / The characteristics of the crafty behavior of trickery, and the surprising variety of domains where it appears and is put into practice, makes this mind phenomenon a preferential subject in Moliere’s dramatic production. To raise crucial questions on self-delusion, imposture, powers of imagination and his disorders, Moliere’s comic theatre constructs plots making use of deceptive appearances, simulacrum and discrepancy between being and appearance, characterized in the practice of trickery. The necessity to cut down the despotic power of the characters holding the key of decision, or to achieve a given goal, calls for a gentle and concealed method of confrontation led by the trickster. His trickery worms its way into the mind of a prey using a persuasive strategy drawn from the science of sophistic rhetoric and designed according to the passions of the opponent in the sole purpose to convince him by fictitious fabrications that might put him at the mercy of the trickster. The confrontation scene creates the energy of the trickery performance thanks to the virtuosity of the trickster’s acting who engages himself in scenic gestures, pantomimes and expressive outburst intended to seduce the audience before the prey. The extreme characters of the dupes, their comical reactions, the elation of the trickster’s performances allow the audience to notice the defects of his society, laugh with them and to live euphoric moments created by the comedy of trickery.

Quand en 2006, Camille de Peretti, la jeune écrivaine de vingt-six ans, décide de donner une nouvelle version d’un livre qui date, elle remonte loin dans le temps : deux-cent-vingt-quatre ans précisément. Elle opte pour Les Liaisons dangereuses de Choderlos de Laclos, roman épistolaire paru en 1782. Les Liaisons se caractérisent par l’ambiguïté aujourd’hui encore présente de leur enseignement moral ; et surtout par la justesse analytique dont est doté leur auteur lors de la peinture du mal. Elles sont une décomposition détaillée des stratégies de la perversion en leurs techniques efficaces par surcroît. C. de Peretti puise, dans le palimpseste, ses intrigues d’amour couplées à la vengeance, ainsi que les stratégies érudites de séduction. Elle prend possession de l’œuvre source pour créer son œuvre. Elle fait mieux : elle dialogue, par là-même, avec l’écrivain originel. La communion intellectuelle est telle que l’écrivain et la récrivaine écriraient à quatre mains le même ouvrage si la possibilité leur en était donnée [...] / When in 2006, Camille de Peretti, the twenty-six-year-old young writer, decides to give a new version of an old novel, she goes far back in time : two hundred and twenty-four years ago. She opted for The Dangerous Liaisons by Choderlos de Laclos, an epistolary novel issued in 1782.The Liaisons are characterized by the ambiguity still present today of their moral teaching; and above all by the analytical accuracy with which the author is endowed when depicting evil. In addition, they are a detailed decomposition of the strategies of perversion in their efficient techniques.C. de Peretti draws, in the palimpsest, its love intrigues coupled with vengeance, as well as the erudite strategies of seduction. She takes possession of the source work to create her own. She does better : she dialogues, in this way, with the original writer. The intellectual communion is such that the writer and the rewriter would write the same work in four hands if given the opportunity [...]

Problems with discipline and student engagement in Swedish classrooms is a burning issue. According to the data provided in the article, "Improving schools in Sweden, an OECD perspective", a significant number of students find it difficult to concentrate during a lesson as there is "noise and disorder during lessons" (Schleicher, 2015, s. 35). This negatively affects the quality of the lesson taking place and poses a challenge to classroom teaching. How can a teacher make sure that the students participate in a lesson in a productive way? Can the teacher find ways to engage the students so that they are active participants in the lesson? In other words, can the students be educationally seduced to love the lessons? This thesis attempts to explore the concept of educational seduction, with the teacher as the seducer and the students as the ones seduced in an educational setting. What makes a teacher special? How is a student (or a group of students) charmed by his/their teacher? Is it the outlook or style of the teacher that makes her different from others? Or is it the knowledge or content that she delivers makes her special? Or is it the love and kindness that the teacher exhibits makes her so appealing? What makes this teacher so different from all the other teachers that the students find it mesmerising? Or, in other words, what constitutes an educationally seductive teacher? The argument I propose is that teachers need to be wholesome, and since it is nearly impossible to be a wholesome personality, I argue that one can strive towards the 'ideal of wholesomeness' in order to be an educationally seductive teacher.

This thesis examines the complex and conflicting arguments surrounding the crime of rape in early modern England and how the important literary texts, Sir Philip Sidney's Arcadias, explore the issue of rape. The thesis explores Sidney's attitude toward a system that sanctioned systematic sexual violence towards women as expressed in the text; as part of this it explores the way that the text differentiates rape from seduction.