Showing papers on "Lust published in 1970"

The Loss of El Dorado, A History.

Abstract: Part 1 The third marquisate: the mountain of crystal fathers and sons. Part 2 The Spanish capitulation: the ghost province the three revolutions. Part 3 The torture of Luisa Calderon: the fourth revolution "apply the torture" the executioner's lust the victims - I and II the inheritors. The death of Jacquet.

Report on a case of sadism

Abstract: James M. Reinhardt, in his book Sex Perversion and Sex Crimes (1937), considered sado-masochism as a trial of cruelty. Gregory (Psychiatry, 1961) stated that sadism is experience of sexual pleasure from inflicting physical or mental pain on others. The term is derived from the Marquis de Sade (1740-1819) who practiced or phantasied sex perversion, sadistic or otherwise. The term masochism denotes sexual pleasure obtained from physical or mental pain and is derived from the name of Leopold von Sacher Masoch (1836-1895) who subjected himself as a slave to women. He also wrote a novel, Venus in Fur, describing some masochistic practices. Various techniques have been used by the sadist and the masochist to inflict pain upon themselves or others, including flagellation, hanging, chaining, roping, torturing, etc. Piquers are sadists who like to stab their victims, not necessarily to death. Extreme sadistic urges may lead to lust murder, cannibalism or necrophilia. A sadistic murderer, Peter Kurten, killed many men, women in children in Germany. A sadistic homosexual mass murderer, Hartman, killed many boys in Germany after World War I and sold their flesh for food. Allen defined sadism as obtaining sexual pleasure from acts of cruelty. He classified sadism according to degrees, such as (1) cruel acts with only concomitant sex pleasure; (2) cruel acts accompanied with erection and sexual satisfaction but without ejaculation, and (3) cruel acts with full sexual satisfaction followed by erection and ejaculation. Some investigation revealed that both traits of sexual deviation could be combined in the same personality, male or female.

The Political Context in Antony and Cleopatra

Abstract: H EV9 E have been dazzled by gorgeous poetry into seeing Antony and Cleopatra as almost entirely a love story. Our preoccupation with the central figures and their passion has led to conflicting interpretations of the play which alternately exalt the lovers into redemptive figures (the world well lost) or condemn them as examples of the consequences of lust.' My purpose is to suggest that we cease to neglect those features of the play which relate to the historical narrative and that if we view Antony and Cleopatra as rulers as well as lovers, we shall gain an understanding of the play and insights into their characters which we have missed hitherto.2 It is abundantly clear that Shakespeare had great respect for his source and followed Plutarch closely-too closely, some critics would have it.3 I contend simply that, far from including in the play irrelevancies to his central theme because they appear in Plutarch, Shakespeare saw a pattern and significance in the action he dramatizes, that it interested him enough so that he added to it, and that their political roles reveal to us a great deal about Antony and Cleopatra that we need to remember when interpreting their love story. For Shakespeare "the really important and interesting and relevant political lessons were those connected with princes ",4 and the actions of Antony, Cleopatra, and those around them exemplify several of these important political lessons. Antony is called a spacious mirror for Caesar (V. i. 33; all references to Antony and Cleopatra are to the Arden edition by Ridley [Cambridge, Mass., I956]), but the actions of great people ("In the name lay/ A moiety of the world") were examples for all:

A Cake-Making Image in Troilus and Cressida

Abstract: The numerous images of food in Troilus and Cressida and their association with love and lust have been remarked upon by many critics. Troilus himself passes from a giddy anticipation of "the imaginary relish" of consummation to the bitter discovery that "the fragments, scraps, the bits and greasy relics" of Cressida's pledge of love have gone to Diomedes. There is, however, a culinary figure in the first exchange between Troilus and Pandarus which deserves comment.' The passage in which it occurs seems obscurely suggestive although it has been left untouched in various expurgated editions, including those of Pope and Thomas Bowdler. It does, in fact, use popular metaphor to convey Troilus' flawed approach to love.

La libertad asediada: Pompeyo frente a César en la Farsalia

Abstract: Male secondary characters and, especially, female characters, constitute the means by which Lucanus gives fundament and strength to the Caesar’s image he wants to offer as an example of lust, squandering, dishonesty and of all the remaining dark forces that threatened the Urbs Aeterna, and to Pompeius’ image as champion of freedom and mirror of traditional Roman virtues, which to the poet, as to Ennius, constituted the sustenance of Rome’s greatness.

Discussion following Lüst's Report

Abstract: This discussion actually took place after the Reports by Lust and by Pottasch. However, the remarks pertaining to Pottasch’s Report have been combined with the discussion following Boyarchuk’s Report, since the latter two Reports appeared to have more in common than the first two. I have condensed several contributions, notably a very long remark by Gordon.