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[fr] ALAIN BADIOU: DIFFÉRENCE ET VÉRITÉ DANS LA RÉINVENTION DU DEUX DE L AMOUR / [pt] ALAIN BADIOU: DIFERENÇA E VERDADE NA REINVENÇÃO DO DOIS DO AMOR: ESTUDOS A PARTIR DA OBRA DE ALAIN BADIOUROBERTO ALVES DE OLIVEIRA 27 August 2018 (has links)
[pt] O amor e sua relação com a diferença são as premissas de análise para a investigação desta condição da filosofia no pensamento de Alain Badiou, traçando ainda suas correspondências com outros pensadores da contemporaneidade (Michel Foucault, Claudine Haroche e Zygmunt Bauman, entre outros) sobre o tema. Este estudo inicia-se com uma breve introdução à sua biografia, militância e pensamento, analisando ainda o amor como verdade e instrumento na construção e reinvenção de um novo homem, bem como novas formulações a partir de um pensamento livre sobre o tema. / [fr] L amour et son rapport à la vérité et à la différence sont les premisses d analyse pour enquêter cette condition de la philosophie dans la pensée d Alain Badiou, en cherchant encore leurs connexions avec d autres penseurs contemporains (Michel Foucault, Claudine Haroche et Zygmunt Bauman parmi d autres) sur le sujet. Cet étude commence par une introduction à sa biographie, activisme et pensée, ainsi qu à son affirmation que l amour est une verité est aussi un instrument dans la construction et reinvention d un nouveau homme, ainsi que de nouvelles formulations sur à partir d une libre pensée sur le sujet.
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A construção das masculinidades no discurso médico e nos romances para homens (1885-1923)Santos, Fernanda Cássia dos 27 August 2012 (has links)
Resumo: O objetivo deste trabalho de pesquisa é compreender o modo como ocorreu a construção das
masculinidades no Brasil na passagem do século XIX para o XX. Para tanto, utilizou-se como
fontes os chamados “romances para homens”, publicações de caráter erótico que se
difundiram nesse contexto, e a tese médica Educação sexual do brasileiro em face do
vultuoso problema da grandesa da Pátria, de Felippe de Sousa Miranda. As relações
estabelecidas entre literatura e discurso médico levam em consideração o caráter intertextual
desses discursos, que dialogam em sentidos múltiplos. Apesar do estatuto diferenciado que
lhes é conferido, os dois tipos de texto, ao abordarem a questão dos limites para a vivência da
sexualidade masculina, contribuíram para o forjamento de um ideal de masculinidade. Ao
mesmo tempo, essas produções discorreram a respeito das mulheres, dos homens negros e
homossexuais, construindo hierarquias de gênero que são investigadas na pesquisa numa
abordagem atenta às intersecções existentes entre raça, classe, gênero e sexualidade.
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Art and gender : imag[in]ing the new woman in contemporary Ugandan artTumusiime, Amanda Evassy 04 1900 (has links)
This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies. / Art History, Visual Arts & Musicology / D. Litt. et Phil. (Art History)
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Art and gender : imag[in]ing the new woman in contemporary Ugandan artTumusiime, Amanda Evassy 04 1900 (has links)
This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)
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Australian Perceptions of the Orient 1880-1910Cummins, Rodney John Travers, kimg@deakin.edu.au,jillj@deakin.edu.au,mikewood@deakin.edu.au,wildol@deakin.edu.au January 2001 (has links)
Abstract not supplied. Keywords taken from contents page.
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American Publishers of Indecent Books, 1840-1890Hawley, Elizabeth Haven 28 November 2005 (has links)
American publishers of indecent books from 1840 to 1890 were not outsiders to the printing trades. They should be seen instead as entrepreneurs whose technological practices and business strategies were largely representative of the diversity within American publishing. Books prohibited or later destroyed because of their content survived in a relatively wide variety of forms in the hands of rare book collectors,
making such artifacts perhaps even more important for the study of industrial practices than literary works collected in greater numbers by research institutions. Those rare artifacts make available long-lost details about the men and women who manufactured print at the boundaries of social propriety, the production technologies they employed, and the place of difficult-to-research publishers in the American book trades. Conservation, papermaking, illustrations, printing, and typefounding are as important to the history of American erotica as the more famous prosecutions led by Anthony Comstock.
Focusing on works considered indecent by the nineteenth-century bibliographer Henry Spencer Ashbee, this dissertation integrates the political economy of print with an analysis of the material forms of semi-erotic and obscene books. Surviving artifacts offer evidence about regional production styles and the ways that fiber selection, and particularly the use of straw in low-quality papers, influenced the prevalence of yellow wrappers for ephemeral works. Printer skill levels and capitalization can sometimes be determined through the presence of gripper marks on printed sheets. Reconstructing and contextualizing the technological practices of these publishers can create new tools for bibliographical analysis, an accessible source of information about technical processes for general historians, and a wealth of data about publishers such as William Berry, whose role in networks of erotica in nineteenth-century America has only recently begun to be appreciated.
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Worlds apart? : sexual behaviour, contraceptive use, and pornography consumption among young women and men /Häggström-Nordin, Elisabet, January 2005 (has links)
Diss. (sammanfattning) Uppsala : Uppsala universitet, 2005. / Härtill 4 uppsatser.
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Nelson RodriguesTomaz, Rogério 11 October 2012 (has links)
Resumo
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Vaginal Pulse Amplitude in Low- and High-Arousability Females During Erotic Stimuli Conditions and SleepRogers, Gary S. 05 1900 (has links)
Vaginal photoplethysmography was utilized in combination with standardized sleep-recording procedures to investigate changes in vaginal pulse amplitude (VPA) during both waking and sleeping conditions in low- and high-arousability females (n = 10 per group), as classified by the Sexual Arousability Inventory. Based upon previous research, it was predicted that both groups would exhibit similar mean levels of VPA during waking exposure to erotic stimuli and during various stages of sleep. Despite hypothesized physiological similarities between groups, the low-arousability group was expected to subjectively report less arousal during the waking erotic conditions.
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Identity politics and the body in selected comtemporary artworksDe Villiers, Cecilia Helene 11 1900 (has links)
This dissertation concerns the socio-cultural politics expressed in the performances of
Matthew Barney, Steven Cohen, Marina Abramovic, and the ‘Pop’ artist Madonna. The
contention is that these artists mirror and dramatize marginalization and seem to reflect a
desire to resolve conflicts experienced between social and psychological identities in
contemporary society. The premise of this study is that these performers engage in a
‘dialogue’ with viewers as a form of self-preservation and self-healing.
The Performance artists’ measure of socio-cultural tensions suggests the merging of mass
media entertainment, theatrical devices and other cultural practices such as fetishism and
rituals involving altered states of consciousness, props and allusions to shamanism. An
ancient modality of healing, such as shamanism, when appropriated by artists, seems to
reflect an urgent phenomenological need of the individual within Western society for
overcoming feelings of powerlessness as a type of therapeutic practice. The Performance
artists’ Othering is acted out as a survival mechanism addressing and questioning the
‘degradation’ imposed on marginalized individuals who challenge the traditional notion of authentic identity and the ‘classic’ body. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)
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