Thesis (M.A.)--University of North Carolina at Greensboro, 2009. / Directed by Hephzibah Roskelly; submitted to the Dept. of English. Title from PDF t.p. (viewed Apr. 29, 2010). Includes bibliographical references (p. 29-30, 87-89).

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2014. / Made available in DSpace on 2015-02-05T20:58:19Z (GMT). No. of bitstreams: 1 328194.pdf: 2334530 bytes, checksum: e58ae5aace9a49a1a4f822a3af789694 (MD5) Previous issue date: 2014 / Existe um jogo de transgressão das interdições, e se trata de um jogo violento. "Essencialmente o campo do erotismo é o campo da violência".1 Acontece uma violação no ser fechado e distinto, separado na sua descontinuidade. Desprende-se de seu estado cotidiano, no mundo social e profano do trabalho, para entrar numa abertura de continuidade profunda, perdendo-se de si mesmo. La Petite Mort é como os franceses chamam o ápice erótico. Morro de não morrer. A questão que colocamos não é sobre uma vida no além, mas um mais além de vida. Não uma morte absoluta, se trata de uma pequena morte. Para Bataille, na pequena morte erótica se experimenta o impossível. Para Lacan é na morte simbólica que se encontra o real. A mesma experiência de ruptura atravessa os dois autores: o gozo. Não a morte do corpo, da carne, mas a morte do sujeito na dissolução das ilusões de um eu que se constitui como unidade. Encontramos no erotismo uma experiência de morte. Se gozar não é morrer seria, então, repetir uma morte que não nos matou? / Abstract : There is a game of transgressing prohibitions, and it is a violent game. "Essentially the field of eroticism is the field of violence". An infraction against the closed and distinctive human being, separated from its discontinuity, detaching himself from his everyday state in the social and profane world of work, to enter into a gap of deep continuity, losing himself . La Petite Mort is how the French call the erotic climax. I die by not dying! The question is not about a life hereafter, but life beyond. There is no absolute death, just a little death. For Bataille in small erotic death we experience the impossible. For Lacan it is in the symbolic death that we find realness. The same experience breaks through both of them : sexual rapture. Not the death of the body, the flesh, but the death of the individual by dissolving the illusions of a self unit. We find eroticism in a death experience. If sexual rapture is not dying, would it then repeat a death that did not kill us?

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013. / Made available in DSpace on 2013-12-05T22:40:43Z (GMT). No. of bitstreams: 1 321670.pdf: 4887071 bytes, checksum: 0366a57d147f547dffa7d0a4517f99e4 (MD5) Previous issue date: 2013 / Este trabalho aborda algumas questões acerca do livro Retrato de la Lozana andaluza, de Francisco Delicado. Primeiro há uma análise de duas recriações do Retrato para outros contextos e em diferentes linguagens: o filme La Lozana andaluza (1974), de Vicente Escrivá e a peça teatral La Lozana andaluza (1963) de Rafael Alberti, seguido de um estudo complementar sobre a fragmentação das formas no Retrato e em outros autores, como Pietro Aretino, Bertolt Brecht e Giuseppe Arcimboldo. Na sequência trato da relação entre erotismo, religião, inquisição, feitiçaria, trabalho e prostituição, para estabelecer a relação destes conceitos entre si no Retrato e também o que se percebe presente nas recriações de Escrivá e de Alberti. Finalmente, problematizo o conceito de exílio tomando por base suas manifestações no Retrato, através de uma revisita ao conceito tradicional de exílio.<br> / Abstract : This paper addresses some questions about the book Retrato de la Lozana andaluza, by Francisco Delicado. First there is an analysis of two recreations of Retrato to other contexts and in different languages: the film La Lozana Andaluza (1974), by Vicente Escrivá and theater play La Lozana Andaluza (1963) by Rafael Alberti, followed by an additional study on the fragmentation of form in Retrato and other authors like Pietro Aretino, Bertolt Brecht and Giuseppe Arcimboldo. Further on, I work with the relationship between eroticism, religion, inquisition, witchcraft, work and prostitution, to establish the relationship of these concepts with Retrato and also how they can be seen as present in the recreations by Escrivá and Alberti. Finally, I problematize the concept of exile on the basis its manifestations in Retrato, through revisiting the traditional concept of exile.

This collection of short stories and the accompanying critical exegesis interrogates whether eroticism, as defined by Georges Bataille, is possible in contemporary erotic writing. The project employs a Lacanian lens through which to examine the notions of transgression, selfhood, transcendence and language as aspects of Bataillean eroticism. It argues that works in the erotica genre such as 'Fifty Shades of Grey' rely on nostalgia for the transgression of prohibitions that no longer hold moral authority. This project argues, theoretically and creatively, that we must discover and define what constitutes contemporary taboos and prohibitions in mainstream society if we are to formulate new erotic works that explore their transgression.

Orientadora : Profa. Dra. Isabel Jasinski / Tese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 27/04/2017 / Inclui referências : f. 376-384 / Área de concentração : Estudos literários / Resumo: A cidade "moderna" (representada claramente nos romances noir e policiais) criou múltiplas metáforas da exacerbação, do terror e da exclusão na literatura latinoamericana. Instaurou-se como protagonista em inúmeras obras, definindo espaços de relação e construção de sentido, através da configuração da periferia, da prostituição, do travestismo, da disseminação de territórios em ilhas urbanas (LUDMER, 2010). Uma propriedade intensificada pela mudança de paradigmas característica do romance latinoamericano no século XXI, em que não predominam modelos estéticos nem a busca pela identidade, mas delineiam-se singularidades e trivialidades no tratamento dessa realidade (FORNET, 2006). Os narradores e personagens não se apresentam como bardos de denúncias sociais, mas como experimentadores do turbilhão urbano em conflito, impreciso, imprevisível. A cidade dos romances noir atuais possibilita a criação de linhas de fuga do sistema através da infernalidade e o erotismo, na medida em que a degradação, o horror e a violência aumentam e definem relações humanas na contemporaneidade. Ao profanar o sagrado (AGAMBEN, 2005), representado pelo corpo do outro e pelo seu espaço de existência, destituem-se hierarquias, o delírio promove a possibilidade de violação e dá vazão ao desejo insaciável, à destruição e à morte. Palavras-chave: Romance noir, cidade, erotismo, infernalidade, morte, marginalidade, degradação, violência. / Abstract: The "modern" city (represented clearly in the noir and police novels) has created multiple metaphors of exacerbation, terror and exclusion in Latin American literature. It had a lead role in numerous works, defining spaces of relation and construction of meaning, through the configuration of the periphery, prostitution, transvestism and the spread of territories in urban islands (LUDMER, 2010). A feature intensified by the paradigm shift representative of the Latin American novel in the 21st century, where neither aesthetic models predominate nor the search for identity, but singularities and trivia were delineated in the treatment of that reality (FORNET, 2006). The narrators and characters do not present themselves as bards of social denunciations, but as experimenters of the urban whirlwind in conflict, imprecise, unpredictable. The city of today's noir novels make possible to create lines of escape from the system through infernality and eroticism, as degradation, horror, and violence increase and define human relations in contemporary times. By desecrating the sacred (AGAMBEN, 2005), represented by the body of the other and its space of existence, hierarchies are dismissed, delirium promotes the possibility of violation and gives vent to insatiable desire, destruction and death. Keywords: Romance noir, city, eroticism, infernality, death, marginality, degradation, violence.

Resumo: Esta dissertação intenta analisar a poesia paranaense presente nas Antologias publicadas por ocasião da realização do Concurso Helena Kolody, entre os anos de 1990 e 1995. Para realizar a análise, primeiro foram percebidos os tipos de poesia em cada Antologia, para depois serem demarcados "territórios" comuns ou próximos, compondo uma cartografia poética. Para suplantar a análise foram necessárias concepções teóricas sobre a poesia de 1990, em especial as abordagens dos professores Benedito Nunes e Heloísa Buarque de Hollanda, além de Michael Hamburguer, Alfonso Berardinelli, Gaston Bachelard e Pierre Bourdieu. Após serem observadas quais linhas de composição tinham prioridade em cada Antologia, além da particularidade de cada Concurso, intentou-se estabelecer uma comparação com autores que publicaram em outras regiões no mesmo período para que se pudessem perceber parâmetros comuns. Outra reflexão, surgida com a análise, foi a percepção da importância do Concurso como incentivador e também regulador da prática poética no Estado. Nesse sentido, foram analisados quatro autores que estiveram presentes nas Antologias e continuaram publicando na década seguinte. Apesar da dificuldade de demarcarem-se "territórios" fixos, percebe-se que há algumas linhas de contorno mais visíveis como a poesia visual, a epigramática, a poesia do fragmento, a poesia homoerótica, a poesia neorretórica e a metapoesia. Também se notam alguns "territórios" mistos, mas com menor frequência. Estas reflexões permitiram perceber o quanto a poesia feita em Curitiba - ao menos a presente nas Antologias - está próxima da poesia dos anos 1990 e o quanto o Concurso, neste sentido, colaborou para que tal prática ocorresse, pois ajudou a medir e a difundir a prática poética.

Sade has had many titles over the centuries. He was ‘Marquis’, a noblesse d’épée, sitting in his château atop Lacoste; ‘Wolf-man’, on the run from the authorities, a cause célèbre for his notorious sexual adventures; ‘Citizen’, a turncoat royalist, a functionary within the bureaucracy of the new French Assembly, eulogizer of the revolutionary heroes, Marat and Le Pelletier; and ‘Divine’, a patron saint of Romantic poets like Flaubert and Baudelaire, and later, the same for the Surrealists. Sade has yet to be given the name: ‘Scientist’. In my dissertation I lay out the ground work for defending this choice of designation by situating Sade and a sampling of his works within a defining period in the history of the object of scientific inquiry: from the eve of the 1789 French Revolution until its dénouement following the death of Robespierre. The three works of focus are Les 120 Journées (1785), Aline et Valcour, ou le Roman philosophique (1795) and La Philosophie dans le Boudoir (1795); and each one is strategically selected to bring to light singular events, marking important changes in humankind’s relationship with the natural world. This intense focus on Sade magnifies many times over the position Foucault had already assigned him in Les Mots et les chose (1966) when, in offering his own version of the evolution of the object of scientific inquiry from the Classical to the Modern Age, he isolates Sade as a heuristic bridge linking the two eras of his focus, using Sade’s erotic novels Justine (1791) and Juliette (1797) to support his argument. However overly pithy Foucault’s application of Sade may have been, it is felt that he lays a sufficient groundwork, one that I take up in my dissertation and push to even further depths. More than simply conforming to Foucault’s employment of Sade as the “midwife” to Modern science, I do two things of notable difference: 1) I take up the challenge Foucault set in the “Foreword to the English Edition” of Les Mots et les chose when he professes “embarrassment” over not being able to account for how “[…] instruments, techniques, institutions…” (p. xiii) of empirical sciences came to match in complexity those individuals and societies that would come to use them. On the one side, Foucault expresses a clear limitation; on the other, he offers up what he believes is half of what it takes to get at this limitation: “I left the problem of cause to one side. I chose instead to confine myself to describing the transformation themselves, thinking that this would be an indispensable step if, one day, a theory of scientific change and epistemological causality was to be constructed” (p. xiv). This dissertation offers up a heuristic framework to account for the relationship between both these sides Foucault can only adumbrate: the side of an emergent scientific knowledge and the ontological status of the producers of this knowledge. 2) I position Sade as a representative of an older scientific tradition, one overshadowed in Foucault’s emphasis on Sade and Modern science. Since Iwan Bloch compared Les 120 Journées to Psychopathia Sexualis, Richard von Krafft-Ebing’s 1886 manual of sexology, dedicated to documenting qualitatively all possible sexual deviancies in human behavior, most readings of Sade in the History of Science have taken him to be on the modern most end of the timeline of the History of Science (Foucault, 1966; Harari and Pellegrin, 1973; Morris, 1990; Vila, 1998; Polat, 2000; Quinlan, 2006; Quinlan, 2013). Some writers in recent years, however, have had the acuity to highlight older scientific influences on Sade’s oeuvre. Armelle St-Martin is one such example, who has written extensively on the influence of Italian science on Sade. Such a focus is a departure from a trend that sees English empiricism defining the scientific mindset in France that, it is believed, would have influenced Sade’s ideas. This would have included the “spirit of exactitude and method” (p. 91) D’Alembert (1751) speaks of in his panegyrics of Bacon, Locke and Newton in Discours préliminaire de l’Encyclopédie de Diderot or Voltaire’s popularization (1763) of all things English in Dictionnaire philosophique. The legacies of both these perspectives have weighed heavily on Caroline Warman’s reading of Sade, who sees him (2002) through a more “positive” prism of “sensationist materialism” in Sade: from materialism to pornography. St- Martin sees Sade’s scientific orientation directed rather towards much older and ulterior forms of scientific “objects”, ones much less “positive”. Casamaggi and St-Martin see pneumatological themes like miasmas and corruptions in Histoire de Juliette, arriving from Sade’s own explorations in such places as amongst the swamps and famously licentious denizen of Venice, the namesake for that special contagion: “maladies vénériennes”. Both these departures from Foucault’s conceptualization imply the need to articulate what I call a “negative” trajectory within the History of Science. This term plays an important part in how I engage with Sade and his contemporaries and its explication constitutes a significant aim throughout the course of my dissertation. Sade’s own inquiry into the object of scientific inquiry came at a time of great upheaval and he relied on one approach hitherto capable of articulating such “negativity”: metaphysics. The very notion of metaphysics was anathema for many, such as D’Alembert who even labeled it a despicable science in the relevant entry in L’encyclopédie de Diderot. This dissertation will situate Sade within this battle over the future of science in what was that all crucial period of history when the die was cast in favor of Modern science and its penchant for “positivity”; the period of the French Revolution.

Master of Architecture

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-03-15Bitstream added on 2014-06-13T19:18:27Z : No. of bitstreams: 1 sampaio_ha_me_sjrp.pdf: 424248 bytes, checksum: e510be6337cbb550bfd06cb4cb9c2069 (MD5) / O objetivo da pesquisa é propor uma leitura de Poemas malditos, gozosos e devotos (1984), de Hilda Hilst, a partir do tema e do paradigma do sacrifício. Segundo Hubert e Mauss (2005), o sacrifício é uma dádiva, um presente, que o homem religioso oferece a seres superiores aos quais lhe convém se ligar. Em todo o sacrifício, um objeto (a vítima) passa do domínio comum ao domínio sagrado. Bataille (1987) estabeleceu uma similitude entre o ato erótico e o sacrificial. O ato amoroso, segundo ele, não desintegra menos o ser que o sacrificante ao imolar sua vítima. O domínio do erotismo torna-se o domínio da violência, da violação. A parte feminina, enquanto vítima, se dissolve e a parte masculina toma o lugar do sacrificador, e ambos se perdem, durante a consumação do ato erótico, numa continuidade estabelecida por um ato que se fundamenta na destruição. Nesse sentido, uma vez que a obra de Hilda Hilst, desde seu surgimento, perscruta o Sagrado (COELHO, 1993), a relação entre erotismo e sacrifício é uma via privilegiada de leitura para essa poesia. Considerando-se o modo de representação do discurso poético hilstiano, que encena o jogo entre eu e tu, a leitura do conjunto evidencia a anulação do sujeito poético, configurando-se como vítima, e a figuração do Outro como grande sacrificador. O tema do sacrifício conteria em si uma possibilidade de elucidação do sentido estético dessa poesia, como a admissão mais radical de sua lógica contraditória, na qual a retórica místico-religiosa convive com o sensualismo mais desbravado. Nesse contexto, os paradoxos sobejam, fazendo comunicar o mais alto e o mais baixo, seja tematicamente, seja linguisticamente / The objective of this reflection is to scrutinize one of the topics dear to Hilda Hilst’s poetic: the representation of the Sacred, in order to establish a knowledge about the construction of the lyrical subjectivity in such poetry. According to Hubert and Mauss (2005), the sacrifice is a gift that religious man offers to the gods. In every sacrifice, an object becomes sacred. Bataille (1987) has established a similarity between the act erotic and the sacrificial. The loving act, according to him, not least disintegrates the being that sacrificer to slay his victim. The field of eroticism becomes the field of violence and violation. The female part, as victim, is dissolved and the male part takes the place of the sacrificer. Since Hilda Hilst’s poetic scrutinizes the Sacred (COELHO, 1993), the relationship between eroticism and sacrifice is a privileged way of reading for this poetry. The theme of sacrifice would contain within itself a possibility of elucidation of aesthetic sense that poetry, such as the admission more radical in its contradictory logic, in which the rhetoric mystical-religious coexists with the sensuality more uncovered. In this context, the paradoxes were stationed, and communicate the ‘highest’ and the ‘lowest’, thematically and linguistically

Master of Science / Department of Family Studies and Human Services / Jared R. Anderson / Using data from a sample of 99 sex therapists in the United States who participated in an online survey, the use of sexually explicit material (SEM) in sex therapy is explored. Findings suggest that prevalence rates for the use of sexually explicit educational material and erotica in sex therapy were very high, 92.6% and 81.1% respectively; while the use of pornography was much lower at 29.5%. Younger therapists, and therapists with less experience, were more likely than older therapists and therapists with more experience to use SEM in sex therapy. Overall, sex therapists were generally comfortable with sexually explicit educational material and erotica but less comfortable with pornography. Younger therapists and/or female therapists were most comfortable with the use of pornography in sex therapy. The primary theoretical rationale reported by sex therapists for using SEM was education. Several therapists indicated that they would not recommend the use of SEM in sex therapy with clients who expressed opposition or discomfort, clients who exhibit compulsive sexual behaviors, and with clients who have a history of sexual trauma.