Thesis (Ph. D.)--Freie Universität Berlin, 1983. / Includes bibliographical references (p. 199-208).

In this essay eroticism will be examined as it appears in some twentieth century representational styles. The decision to concentrate on the representational styles is based on the fact that eroticism is by nature incompatible with the non-representational or non-objective movements in art. This incompatibility is rooted in the knowledge that eroticism is intrinsically and fundamentally a human experience and could therefore find expression only in an art which is concerned with human experience, i.e. experiences which refer to man, his nature and his relation to Nature. It would be oversimplified and grossly inaccurate to equate the nonrepresentational with the abstract, abstraction being an element present in all art to a greater or lesser degree. However, when abstraction has reached the stage where it can define its aims, as, in the words of Kandinsky, "widening the separation between the domain of art and the domain of Nature", (Lake & Maillard: A Dictionary of Modern Painting, p. 1) then it may also approach the realm of the non-representational. When Michel Seupher states, "I call abstract art all art that does not recall or evoke reality", (Lake & Maillard: A Dictionary of Modern Painting, p. 136) abstract and nonrepresentational art becomes fused into an inseparable unity. Erotic expression will then be incompatible with this degree of abstraction. Intro., p. 1.

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<p> This thesis is a study of the portrayal of erotic experience given by Plato in the Symposium, and by Georges Bataille in his later theoretical writings, particularly Erotism and The Accursed Share. As such, this work is a comparison between an ancient and a modern understanding of eros in order to see which provides a more adequate account of erotic experience.</p> <p> Though Bataille does not directly critique Plato's understanding of eros, there are several passages within the Symposium that bear a striking resemblance to the erotic account given by Bataille. This is especially evident in the speech of Aristophanes, where Plato, through one of his characters, provides an erotic understanding that contains many of the same elements that are found in Bataille. The Aristophanic account of eros is directly criticized by Plato through Socrates' erotic speech in the same dialogue. By illuminating the Platonic critique of Aristophanes' erotic understanding, I will extend the critique to Bataille, thus demonstrating the crucial deficiencies within Bataille's account.</p> / Thesis / Master of Arts (MA)

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何思穎. / Thesis submitted in: November 2009. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 132-138). / Abstracts in Chinese and English. / He Siying. / Chapter 第一章 --- 绪论 --- p.1 / Chapter 一. --- 文献回顾 --- p.2 / Chapter 二. --- 研究问题 --- p.6 / Chapter 三. --- 研究文本与研究方法 --- p.8 / Chapter 四. --- 理论框架 --- p.10 / Chapter 五. --- 论文结构 --- p.14 / Chapter 第二章 --- 李翰祥风月片产生的背景及原因 --- p.17 / Chapter 第一节. --- 一代南来影人的传奇电影生涯 --- p.18 / Chapter 第二节. --- 1970年代李氏风月片产生的背景 --- p.24 / Chapter 第三节. --- 李翰祥的古典风趣 --- p.33 / 小结 --- p.38 / Chapter 第三章 --- 再现中国古典文学风月传统 --- p.40 / Chapter 第一节. --- 从小说到电影：李翰祥的选择与创造 --- p.41 / Chapter 第二节. --- 风月如画：李翰祥的古典色情镜像 --- p.49 / Chapter 第三节. --- 万种风情脚下来：李翰祥的“金莲´ح情结 --- p.57 / 小结 --- p.66 / Chapter 第四章 --- 建构女性情欲的自主空间 --- p.68 / Chapter 第一节. --- 李翰祥镜头下的潘金莲 --- p.68 / Chapter 第二节. --- 权力与欲望的流动 --- p.79 / Chapter 第三节. --- 危险的愉悦：死亡、虐恋与性 --- p.90 / 小结 --- p.100 / Chapter 第五章 --- 结论 --- p.101 / Chapter 第一节. --- 李翰祥风月片在其个人创作脉络中的重要性 --- p.101 / Chapter 第二节. --- 李翰祥风月片在香港色情电影发展史上的地位 --- p.107 / Chapter 第三节. --- 大师之后：香港色情电影发展的展望 --- p.112 / 附录： / 表一李翰祥五部《金瓶梅》改编风月片票房纪录 --- p.116 / 表二 李翰祥风月片的详细资料 --- p.117 / 表三1975 ´ؤ1978年于《大特写》评介的上映外国色情电影 --- p.119 / 插图简介：港台地区改编自《金瓶梅》的主要电影作品： --- p.121 / 参考资料： / Chapter 一. --- 参考书目： --- p.132 / Chapter 二. --- 网站资源： --- p.138

Thesis (Ph. D.)--State University of New York at Binghamton, Department of English, General Literature, and Rhetoric. / Includes bibliographical references.

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