Showing papers on "Lust published in 2001"

Explaining Paraphilias and Lust Murder: Toward an Integrated Model

Abstract: The literature on sexual homicide and serial murder has offered mostly descriptive or anecdotal accounts. What seems to underscore these crimes is a series of paraphilias (i.e., sexually deviant behaviors) that give rise to violent conduct. The motivational model of Burgess et al. and the trauma-control model of Hickey indicate as much in their respective sexual homicide and serial murder typologies. However, neither model offers a detailed conceptual account of the etiology and process of paraphilias, especially in relationship to lust murder, or erotophonophilia. This article attempts to fill this gap in the research. The authors demonstrate how the motivational and trauma-control typologies are assimilable, making possible an integrated theoretical paraphilic schema. The authors explain how paraphilias as a system of behavior function as motive in the sexually sadistic act of lust murder. They conclude by exploring the implications of their conceptual synthesis for clinical forensic treatment and law e...

Augustine and politics as longing in the world

Abstract: Saint Augustine's political thought has usually been interpreted by modern readers as suggesting that politics is based on sin. In "Augustine and Politics as Longing in the World, " John von Heyking shows that Augustine actually considered political life a substantive good that fulfills a human longing for a kind of wholeness.Rather than showing Augustine as supporting the Christian church's domination of politics, von Heyking argues that he held a subtler view of the relationship between religion and politics, one that preserves the independence of political life. And while many see his politics as based on a natural-law ethic or on one in which authority is conferred by direct revelation, von Heyking shows how Augustine held to an understanding of political ethics that emphasizes practical wisdom and judgment in a mode that resembles Aristotle rather than Machiavelli."Augustine and Politics as Longing in the World" demonstrates some of the deficiencies in the way Augustine's political thought has been interpreted. It also explains why a rereading of his thought illuminates the current debates between "secularists" and proponents of "orthodoxy" and shows why these debates are miscast. By examining Augustine's political thought, von Heyking provides a way of resolving this controversy and shows how we can move beyond conflicting claims and thus moderate yet elevate political life.Behind Augustine's apparent antipolitical rhetoric lies his substantial agreement with his Roman philosophical interlocutors on virtue and politics. This allegedly antipolitical rhetoric is meant to tame the lust for domination of Roman patriots by showing that lust can never be satisfied by political goods. By opposing extreme "worldliness" with extreme "otherworldliness," Augustine appears to reject politics as a natural good. On the contrary, he affirmed politics as a natural good."Augustine and Politics as Longing in the World" shows how Augustine's belief that politics was a way for humans to fulfill their longings for a kind of wholeness discloses a deeper affirmation of a more meaningful, pluralistic, and robust political life than his interpreters have previously appreciated.

The Need for Lavinia's Voice: Titus Andronicus and the Telling of Rape

Abstract: IN ACT 2 OF SHAKESPEARE'S Titus Andronicus, Lavinia refuses to name rape; she refers to an impending sexual assault as that which "womanhood denies my tongue to tell" and as a "worse-than-killing lust" (2.3.174, 175). (1) Lavinia's chaste refusal to say the word "rape" reminds the audience that even to speak of rape brings a woman shame. As feminists have pointed out, an environment that makes it shameful to speak of rape disallows a critique of rape and the culture that sustains it. (2) And yet, while the world of the play suggests how early modern culture's construction of gender "denies" a woman the "tongue" to talk of rape, the play also feeds on the unrest that such silence creates. Feminist critique of rape representations often explores "telling" as a question of authorship or subjectivity. For example, the first question that many feminist critics ask of various early modern representations of rape is: Who is really doing the talking; who is telling this story of rape? (3) Such questions are particularly useful when pursuing the cultural politics of lines such as Lavinia's quoted above. Feminist scholars have rightly pointed to the myriad ways that patriarchal culture silences women, but it is too simple to say that silence always serves (and is preferred by) patriarchal culture. Sometimes patriarchal culture needs and wants female speech--of a certain kind, under certain conditions. Few have considered the way these texts also reveal patriarchy's discomfort with silence about rape. (4) For many feminist critics of Titus Andronicus, for example, Lavinia's enforced silence is posed as simply an oppressive requirement of patriarchal culture. (5) No doubt the mutilation of Lavinia is brutally oppressive, yet Lavinia's silence is troubling to some men in her world. Speaking may be threatening, but so is silence. Revealing rape may be dangerous for some men (the rapists), but it is necessary for others (the father, the current or future husband). Until Lavinia is able to testify about her rape, it goes undetected and unpunished. Lavinia's family depends on her willingness and ability to tell that she has been raped if they are to revenge it. Just as the play illustrates the cultural need for both a raped woman's silence and her testimony, statutory laws of rape and abduction reflect a legal tradition undergoing change with regards to a woman's non-consent and accusation of rape. While statute law represents legal principles that may or may not line up with practice, I read both the legal and dramatic discourses as evidence of how power is assigned to raped women's claims, and how, in turn, that powerful speech is perceived, represented, and contested. By exploring the relationships between statutory law and the play, I argue that Titus Andronicus dramatically registers the culture's anxiety over men's increased dependence on women's voices and, in doing so, shapes and sustains early modern England's contradictory attitude toward a woman's accusation of rape. "`Rape' call you it"? Rape is the centerpiece of Shakespeare's fictional history of Rome. (6) More than any other early modern English play, Titus Andronicus has the "pattern, precedent, and lively warrant" (5.3.42) of rape hovering throughout. References to the legendary rape stories of Philomela, Lucrece, and Virginius are used as shorthand for understanding character and motive in four of the most important actions in the play: Aaron's tutorial in rape, Lavinia's revelation of the crime, Titus's murderous revenge against the rapists, and his killing of his own daughter. (7) Even the play's "precedent," Ovid's Metamorphosis--the grandfather of rape stories--is literally brought onto the stage. These heavy-handed references to rape suggest an interest in rape as rape rather than just as a convenient metaphor for chaos or disorder. (8) In a like manner, Lavinia's silence elucidates more than just an oppressive gendered ideal of feminine decorum. …

Ancient Philosophy's Hardest Question: What to Make of Oneself?

Abstract: The most extraordinary ambition of Graeco-Roman philosophy was to make human life safe for long-term happiness. All the principal schools— Platonists,Aristotelians,Epicureans,andStoics— contrastthepullofcircumstances and humancoercionwith whatpersons canalways makeof themselves if they focus their identity and values on their status as rational agents. We have inheritedfrom thatprojectourfolkpsychology, asit issometimescalled:thepreferential distinctions between mind and body, reason and passion, love and lust, consistency and vacillation, serenity and anxiety. This folk psychology goes so deeply into our cultural roots that we easily assume it to be natural. In fact, it was scarcely formulated before Plato. He and the succeeding Greek and Roman philosophers adopted it for the purpose of liberating the best life for oneself and one’ s associates fromexternaldependency.Althoughwestilldrawselectivelyonthatideal,weprobably agree with Plato’ s predecessors that happiness is far from being largely in our ownpower.Howdidthatremarkableproposalemerge?EvenafterMichelFoucault, I don’ t think we yet have an adequate genealogy for outrageous, or should I say courageous, ideas like Stoic freedom. 1 This paper is an attempt to sketch a genealogy bybringing ina broader range of cultural data than is customaryamong those who share my research interests.

“O, Keep Me From Their Worse Than Killing Lust”: Ideologies of Rape and Mutilation in Chaucer’s Physician’s Tale and Shakespeare’s Titus Andronicus

Abstract: The telling and retelling of the sensational tale of Virginius and Virginia in the literature of Medieval and Early Modern England indicates this society’s concern with the social and political consequences of sexual access to women. Recorded first by the Roman historian Livy, the story of Virginius and Virginia is a tale of political intrigue intertwined with an additional tale of threatened rape and subsequent murder. Apius, a corrupt judge, desires Virginia, the chaste daughter of Virginius, who murders his daughter to counter Apius’s plot to obtain her. When Apius tries to punish Virginius, the Roman people rise up and overthrow Apius, who commits suicide.1 This version of the story provides the text of Chaucer’s Physician’s Tale and other medieval works. By the sixteenth century, however, there are two versions of the Virginius and Virginia story, Livy’s version in which Virginius kills his daughter before she is defiled, and an alternate version, in which Virginius murders Virginia after she is raped.2 Medieval and Early Modern accounts of this story are almost always told as an exemplum of evil government; the moral is that men who use their authority for evil purposes are always punished.3 In these redactions of the tale, however, as the Virginiuses who have helped to restore a righteous reign step to the forefront, the Virginias who have endured unspeakable harms fade into the background.

Passion and virtue : essays on the novels of Samuel Richardson

Abstract: Love, lust and human suffering - passion in all its aspects - was Samuel Richardson's great theme. The essays in Passion and Virtue are thematically united by the moral vision in Richardson's novels. The novels reveal the conflicting demands of human passion, through the ennobling and destructive aspects of love and lust, and the attempt to achieve a virtuous existence through Christian suffering. This conflict is considered and critically analyzed in fourteen essays, all originally published in Eighteenth-Century Fiction, the leading periodical for fiction from this period. Recently, Richardson's works have had a special acclaim, attracting more critical interest than those of any other eighteenth-century novelist. Encompassing a wide range of responses to the moral conflict portrayed at the heart of Richardson's novels, critical approaches in Passion and Virtue include the political, economic, psychological, philosophical, theological and biblical,. While his masterpiece, Clarissa, receives the most attention, both Pamela and Sir Charles Grandison are also examined, the latter only recently regaining critical favour. Each essay reflects the author's expertise and demonstrates the significant scholarship published in Eighteenth Century Fiction.

Bike Lust: Harleys, Women, and American Society

Abstract: "Bike Lust" roars straight into the world of women bikers and offers us a ride. In this adventure story that is also an insider's study of an American subculture, Barbara Joans enters as a passenger on the back of a bike, but soon learns to ride her own. As an anthropologist she untangles the rules, rituals and rites of passage of the biker culture. As a new member of that culture, she struggles to overcome fear, physical weakness and a tendency to shoot her mouth off - a tendency that very nearly gets her killed. "Bike Lust" travels a landscape of contradictions. Outlaws still chase freedom on the highway, but so do thousands of riders of all classes, races and colours. Joans introduces us to the women who ride the rear - the biker chick, the calendar slut straddling the hot engine, the back-seat Betty at the latest rally, or the underage groupie at the local run. But she also gives us the first close look at women who ride in their own right, on their own bikes, as well as a new understanding of the changing world of male bikers. These are ordinary women's lives made extraordinary, adding a dimension of courage to the sport not experienced by males, risking life and limb for a glimpse of the very edge of existence. This community of riders exists as a primal tribute to humanity's lust for freedom.

A Lust for Virtue: Louis XIV's Attack on Sin in Seventeenth-Century France

Abstract: Introduction Lust for Virtue Watchdog of Parisian Sin Soldiers of Satan Adultery Most Royal Safeguarding Souls Courtly Sin Conclusion Bibliography

The rhetorics of power

Abstract: -thoroughly distorting paraphrases of my line of argumentation (for example, "Thus, resistance to the 'formal' law of Judaism works as the enactment of the divine Law constituted by the 'real' content of Christianity" [85]-where do I speak of the "divine Law constituted by the 'real' content of Christianity"?), up to simple inventions inserted to render the critique more piquant by making me appear antifeminist, and so forth (for example, "At the same time, 'woman's' 'naked' body functions as a spectacle doubtlessly deserving the philosopher's lust" [88]-where do I claim anything resembling this?).

Blood on the Moon: The Assassination of Abraham Lincoln

Abstract: The assassination of Abraham Lincoln is one of the most familiar stories in American history, usually told as a tale of a lone deranged actor who struck from a twisted lust for revenge. Edward Steers reveals that this is not only too simple an explanation: it is completely wrong.

The virtue of a king and the desire of a woman? Mythological representations in the collection of Queen Christina.

Abstract: The centre of Queen Christina’s Roman collection of paintings was the so-called ‘Great Room’ or ‘Sala dei quadri’, as described by the Swedish architect Tessin the Younger. Here the abdicated queen chose to concentrate not only the artistic highlights of her collection – such as the Madonna del Passeggio attributed to Raphael – but also the allegorical and mythological paintings by Titian, Veronese and Correggio, stemming largely from her earlier conquest of Prague. Several questions become pressing in the light of the marked dominance of female nudes among these works, questions which form the focus of this paper. Firstly, how did Christina relate to the pictorial subjects on display here? Secondly, can the paintings of a collection that served a representational function and reflected a pronouncedly personal taste also be interpreted as an expression of personal desire? The broad thematic spectrum present in the paintings in this room – encompassing female lust and chastity as well as male desire and renunciation – and one evidently brought together by Christina for programmatic effect, left little space for anything but a ‘male’ gaze, a sexually ambivalent notion in the light of Christina’s personality. The present analysis of the Great Room and of the objects in it, including Bernini’s famous allegorical mirror and an antique bronze head thought by Christina to depict Alexander, shows the room to be the bearer of a programma virtutis, one that is modelled on Christina’s image in spite of its ‘male’ impulse. The virtus described is not that of the woman Christina, however, but of the formerly reigning Queen Christina Alexandra, whose regal self-image combined a female body private with a male body politic.

Pornographic Manhood and The Scarlet Letter

Abstract: In "The Invention of Pornography" Lynn Hunt describes the genre as a social creation that is defined collaboratively by those who produce it and those who try to stamp it out. Lists of forbidden titles in pre-revolutionary France form a canon, in which erotic books--like Therese Philosophe--are mingled together with a general run of works deemed treasonable and seditious: attacks on the ancien regime routinely accused clerics and great lords of sexual depravity, and some titles offered graphic descriptions of their lewd behavior. (1) A new form of illicit sexual writing emerged in the nineteenth century, however, in keeping with the emerging middle-class pre-occupation with the sacredness of the home: censors now denounced pornography not for sedition, but for indecency. Producers of pornography, likewise actuated by impulses that arose from the new cultural arrangement, generated distinctive smut. Rather than jeering at the vices of decadent aristocrats, the reader of the new porn found himself inveigled into the mingled desire and guilt of sexual aggressors alarmingly like himself. (2) The term "pornography" entered the English language in 1850, and was quickly applied to the new mode of sexual writing. (3) Twentieth-century definitions, like contemporary instances, often retain qualities first observed in the antebellum period. The standard adopted by the U.S. Supreme Court in 1966 specifies material that "appeals to a prurient interest," implying an itch that gets worse as it is scratched. (4) Reading porn heightens the impulse to read porn, so the definition indicates; and this experience carries forward the quality of guilty and obsessive reader involvement that became characteristic of the genre in the early nineteenth century. The emerging genre of pornography, I argue here, discloses and serves the sexual consternations of an emerging genre of manhood; I then turn to Hawthorne's depiction of pornographic manhood in The Scarlet Letter. George Lippard's Quaker City provides a classic instance of the new porn. Lorrimer and Mary sit on a sofa in the Rose Chamber of Monk Hall, a gothic castle of lust in downtown Philadelphia. The two figures appear to be perfect opposites: Lorrimer is an experienced sexual predator, Mary an innocent maiden. "It was the purpose of this libertine," Lippard remarks, "to dishonor the stainless girl, before he left her presence. Before day break she would be a polluted thing." (5) Mary in this scenario is evidently a woman, soon to be raped by a man, namely Lorrimer. Yet "Mary," I propose, is a man in disguise. Feminist discussions of pornography--from Susan Brownmiller to Catherine McKinnon--have shown that sexual violence enforces male dominance; I'm pursuing a complementary line of investigation, looking for sources of sexual violence not only in the relations of men with women, but also in the relations of men with each other, and men with themselves. (6) In the feminist consciousness-raising of the mid-sixties women sought freedom from ingrained habits of subservience that had come to feel natural and right. Women freed themselves from themselves: they set their personal stories in an historical context and learned to understand spontaneous impulses as the outcome of social arrangements. "The women's movement has drawn inescapable and illuminating connections," wrote Adrienne Rich in 1971,"between our sexual lives and our political institutions." (7) Growing boys likewise internalize models of manhood, whose contours present themselves as the shape of reality. Yet we are only beginning to understand the political structures and cultural traditions hidden within masculine experience and to challenge their logic. Fantasies of sexual violence victimize women, as does sexual violence itself; but this fact alone does not explain the grip of such fantasies upon the emotional lives of men, or the tacit permission law-abiding men chronically extend to sexual offenders. …

Dirty Pictures, Mud Lust, and Abject Desire: Myths of Origin and the Cinematic Object

Abstract: In three films about artist couples—— Artemisia (1997), Camille Claudel (1988), and Life Lessons (1989)——cinema is shown allegorically through art as the progeny of sexual coupling. In each, the nature of the relationship——its romantic, psychosocial, and sexual aspects——suggests larger issues relating to the experience of film, as though each was a myth of the origins of film, or a primal scene. The couples personify the ultimately erotic act of filmmaking even as they reveal the peculiar sensibilities of each film's maker, be those involved with the quasi­­pornographic experience of looking, the fetishistic interest in technique and handling, or heroic passions and valorization of gesture.

Forms of Love: Vladimir Solov’ev and Lev Tolstoy on Eros and Ego

Abstract: Vladimir Solov'ev and Lev Tolstoy challenged both sides of an intellectual controversy raging in Western Europe throughout the course of their careers. Each took issue with tenets of Catholic-based Christianity, on the one hand, and positivist philosophy, on the other. They expressed this joint disaffection in their readings of Plato, readings fundamental to their respective moral doctrines. These interpretations deviated from both conventional "Catholic" appropriations of the Greek philosopher, beginning with St. Augustine, and positivist rejections of Platonism, inspired particularly by Charles Darwin and evolutionary theory. Yet despite their similar starting points, the philosophy of Solov'ev and Tolstoy came ultimately to diverge in radical and even bitter ways. Although each anchored his metaphysical formulations around the intertwined concepts of love and unity, their differing interpretations of these terms inspired a defense of irreconcilably rival religious and political views. The nature of their disagreements shifted over the years, as each scholar's philosophical position evolved. However, with Tolstoy's publication of the KreutzerSonata in 1889, debate between the two men crystallized around the issue of eros, or sexual love (polovaia liubov'). Tolstoy's position at the time was notoriously controversial. Although readers initially accepted his novel as a blood-drenched indictment of adulterous behavior, Tolstoy in a laterAfterword pushed them to acknowledge what he claimed had been his much broader argument in favor of chastity and against all forms of romantic attachment. Eros is consequently portrayed in the Afterword as a sensation both manufactured and misdirected. Manufactured, in that it results from a lover's attempts to justify sexual hunger by projecting an array of complimentary attributes onto the object of his or her affections. And misdirected, in that it is the consequence of thought focused on lust, rather than aimed at what Tolstoy terms "any goal considered worthy of mankind," much less toward the highest of

On Homoeroticism, Erotic Countertransference, and the Postmodern View of Life: A Commentary on Papers by Rosiello, Tholfsen, and Meyers

Abstract: This is a discussion of three papers: Florence Rosiello's “On Lust and Loathing: Erotic Transference/Countertransference Between a Female Analyst and Female Patients,” Barbara Tholfsen's “Cross Gendered Longings and the Demand for Categorization: Enacting Gender Within the Transference-Countertransference Relationship,” and Linda Meyers' “Gay or Straight? Why Do We Really Want to Know.” The author agrees with Rosiello's point that the erotic countertransference often hinders the treatment, due to the therapist's discomfort or shame over having sexual feelings toward a patient. However, this raises the dilemma of how to interact with the patient about the erotic aspects of the relationship without being seductive or blurring the boundaries. Rosiello is criticized for both her seductiveness with her patients and for creating a highly-charged sexual atmosphere in an analytic session where the patient is encouraged to describe the intimate details of her sex life. The author wonders how much of what ...

Dolssor Conina: Lust, the Bawdy, and Obscenity in Medieval Occitan and Galician-Portuguese Troubadour Poetry and Latin Secular Love Song

Abstract: Dolssor Conina : lust, the bawdy, and obscenity in medieval occitan and Galician-Portuguese troubadour poetry and latin secular love song

Shakespeare on monastic life: nuns and friars in measure for measure

Abstract: Against recent claims that Shakespeare satirizes and demystifies religious life in Measure for Measure , this article maintains that Shakespeare is generally sympathetic to Franciscan nuns and friars, particularly so in this play. Indeed, Shakespeare works against the anti-fraternal tradition by reversing its conventions. Nuns and friars are represented as virtue figures, not vice figures. The secular characters are guilty of sexual irregularities, whereas the religious are chaste and work to regularize the marriages of the lay figures. The usual exposure of the sexual corruption and hypocrisy of the friar backfires on Lucio, the chief vice figure in the play. The virginal and temperate Isabella, a secular figure in Shakespeare's sources, is portrayed as a prospective novice of the Poor Clares over against the puritanical Angelo, whose hypocritical asceticism turns into lust. Angelo conducts a public shaming English Protestant style, whereas the Duke in Catholic fashion conducts a sympathetic auricular confession. Finally Isabella does not sacrifice her virginity or accept the Duke's offer of marriage, two things her counterparts in the sources invariably do. Shakespeare's reversal of anti-Catholic conventions requires us to reposition him as a Catholic rather than a conforming member of the Church of England.

Legal Lust: Literary Litigations

Abstract: Laws are rules, and lust is the stuff of literature. The two come together when the rules of law pertain to concrete issues and thus generate stories. Conversely, literature representing, invoking, and provoking lust stages the rules that limit lust, so that their transgressions can provide matter for a book. The rules, one finds out quickly, intervene where lust is strongest or most authentic, less modelled on routine plots. Without lust, there would be no need for rules. Literature produces narratives that probe the clash between lust and the rules that contain it. But I am speaking of the law as 'staged,' not as 'real': why should I bother with it? In the introduction to her book Crimes of Writing, Susan Stewart defines the relationship between law and literature in terms that I read as pointing to a double 'conversion' from the starting position of otherness:

La révolution transatlantique des émigrés : Des réseaux aux institutions

Abstract: Both Rousseau and Bernardin de Saint-Pierre present us with the paradox of a philosophy impregnated with literary and scientific culture which claims to turn its back on learning and to praise ignorance. This apparent contradiction disappears if we understand the Utopian aspect of their thought and argue that it is not knowledge as such that is rejected but the perverse use made of it in the ordinary world. Emile' s education directs knowledge towards a progressive pleasure untainted by the lust for power, while for Bernardin, one must be careful not to let learning smother love of beings and the exercise of sensibility ; thus it is not primordial and is only valuable as an instrument in the service of human relations. Both authors invite us, in their own way, to redefine the aim of teaching, the role and value of knowledge in education, together with the risks and contradictions involved. It is significant that the fundamental question concer¬ ning the purpose of learning is posed at the heart of the Enlightenment.

Patterns: Lust for Glory

Abstract: Pattern frameworks have emerged as a powerful if not yet pervasive tool for the continuous improvement of software authorship, teaching, business administration and building design. The concept of somehow storing proven solutions to repeating problems in a readily-retrievable form has enormous appeal to professionals in all walks of life. While there have emerged some excellent templates for the creation of effective patterns there are a number of alternatives that each offer something to attract different pattern users. This paper reviews those observed so far, considers their features and attempts to recommend a preferred version or versions in the light of developed criteria.

Murnau's Nosferatu

Abstract: MURNAU'S NOSFERATU: TAMING FLAMES, PITCH BLACK, SLEEPWALKING SERPENTS AND THE WORDS OF ICE THAT CAME FROM WITHIN 1. Ambiguous "Givens" and Texture: The Trace Within Ageless, summoned and raised each nightfall by the beating thirst echoing the eternal search for blood, Count Dracula, the old tyrant, stands at the edge of insanity, at the threshold of his forgotten land, with vigilant eyes staring at the forest, expecting the coming of the messiah of forgiveness and joy. Beyond the veils of reason and the landscapes of logic, as a tradition and symbol of a time gone, of the forlorn black gem buried in the vaults of remembrance, he, the mannequin of shadows, murmurs the silence of trauma. In Murnau's morality play, the vampire's lust for blood is simply a preying of the revulsed grotesque and repressed violence upon innocence and blissful modesty. The story deals, in essence, with the...

Death and mutilation at the dueling site: Pushkin's death as a national spectacle.

Abstract: Early Russian fictional dueling accounts are not guilty of "the lust of the eyes" that St. Augustine repeatedly condemns in the pages of his Confessions: they consistently avoid describing the bodily damage that dueling inflicts. The reader does not witness the physical suffering of the wounded or dying duelist. The protagonist in Mikhail Sushkov's epistolary novella The Russian Werther (written in the early 1790s, first published in 1801) briefly informs his correspondent about the death of his dueling opponent: "He was felled by my hand."' The narrator of the story about dueling interpolated into the 1802 anonymous travelogue A New Sentimental Traveler is equally reticent: "An ill-fated shot! Berngeim is no more!"2 The narrator is only a little less abstract in his description of the death of Berngeim's daughter, Amalia, that immediately follows: "Amalia runs in frenzy, her knees give way, and, hardly having reached the body of her parent, she falls on him, and her soul and spirit unite with him."3 In contrast, the author of A Ntew Sentimental Travelerdevotes considerable attention to the psychological consequences of the incident for Franz, the victorious duelist. He describes in detail the torments that seize Franz immediately after the duel: "Despair, frenzy, love-all passions produced the most powerful effect on his feelings. He dashed and rushed

Rapport au savoir et utopie en éducation chez Rousseau et Bernardin de Saint-Pierre

Abstract: Both Rousseau and Bernardin de Saint-Pierre present us with the paradox of a philosophy impregnated with literary and scientific culture which claims to turn its back on learning and to praise ignorance. This apparent contradiction disappears if we understand the Utopian aspect of their thought and argue that it is not knowledge as such that is rejected but the perverse use made of it in the ordinary world. Emile' s education directs knowledge towards a progressive pleasure untainted by the lust for power, while for Bernardin, one must be careful not to let learning smother love of beings and the exercise of sensibility ; thus it is not primordial and is only valuable as an instrument in the service of human relations. Both authors invite us, in their own way, to redefine the aim of teaching, the role and value of knowledge in education, together with the risks and contradictions involved. It is significant that the fundamental question concerning the purpose of learning is posed at the heart of the Enlightenment.

Sexual Encounters in the Middle East: The British, the French and the Arabs

Abstract: Sexual Encounters in the Middle East: The British, the French and the Arabs, by Derek Hopwood Reading, UK: Ithaca Press, 1999 287 pages Bibl to p 297 Index to p 308 GBP35 "Sexual attitudes and proclivities," claims Dr Derek Hopwood (until recently, director of the Middle East Centre of St Antony's College, Oxford), "did influence both the way people reacted to each other and, perhaps more controversially, influenced the course of history" (p 2) This is the general conclusion reached in this chronicle and analysis of a significant aspectthat of sexual relations and attitudes-of the encounters that have taken place through the centuries between people from Britain, France, and the Arab world The images, ideas, and prejudices held in the West about the East are assessed in detail The author believes that "the West was seen as dominating, the East dominated; the West rational, advanced, the East mysterious, backward; the West male, the East feminine; the West sexually restrained (and therefore superior), the East lascivious, uncontrolled" (p 5) These themes began to permeate relevant European thought and literature from the time Arab and Berber armies invaded Spain in the year 710 As a result of this religious and cultural confrontation, Europeans began to depict the Prophet Muhammad as "a sexual monster" and "fornicator" (p 10) for having reportedly succumbed to carnal lust throughout his lifetime It was believed that all Muslims followed his licentious example The European experience during the Crusades further reinforced the idea that Islam was a threat that had to be countered By the 18th century, the European image was of an East that was exotic, erotic, and lustful, and that could provide an escape from Western sexual repression Moreover, to the Western mind the stereotypical female image of the East "provided a justification for imperialism, the right of the West to dominate others" (p 5) Napoleon's invasion of Egypt in 1798 initiated the modern European experience of the Arab world French, and then British, Orientalist writers romanticized the East They "integrated certain ideas about sexual behaviour [sic] in the Middle East into the European mind Sexual attitudes influenced imperial attitudes, and imperial relationships were at the root of racism and were embedded into the Victorian approach to the world in general" (p 51) Anglo-French Middle East colonial rivalry and experiences are explained, interestingly and in detail, within this context Europeans and other related Middle East institutions, including prostitution, dancing girls, the harem, the "Turkish" bath, slavery, and concubinage, are chronicled with numerous historical vignettes …

Genders, Races, and Religious Cultures in Modern American Poetry, 1908–1934: “Seismic orgasm”: sexual intercourse, its modern representations and politics

Abstract: The only point at which the interests of the sexes merge — is the sexual embrace. Mina Loy, “Feminist Manifesto” (1914) No human act is natural in an unmediated way, and even the most apparently basic and primal, sexual acts, have been constructed of political and ideological meanings. From New Woman and other investigative perspectives, autonomous female desire, the nature and importance of orgasm, possible dangers and pleasures in sexuality were probed from before the very beginning of modernism. For depictions of heterosexual intercourse and sexual desire in modern poetry, Mina Loy's “Songs to Joannes” has both intellectual and historical primacy. It is the work of a certain New Woman subjectivity – “the modern, investigatory, subtly alive, defiantly free woman” (Gregory 1923, 151). Loy“s satiric, ironic, wickedly learned, and passionate voice goes far to destabilize lyric assumptions about the romance plot, female silence, and objectification. The first four sections were published in Others in 1915, and their pretty explicit allusions to lust, to “Pig Cupid … rooting” with its crypt word rutting , to scrotum and testicles (the male “skin-sac”), and to “abortions” startled and scandalized many readers. Loy sees sexuality as a complex of events and meanings, as a site of struggle between genders and among various historically situated desires. Other works besides Loy's – works by Stein, Lawrence, and Pound – draw on the discourses of New Woman/free love and narrate acts of sexual intercourse and even orgasm.

Management of witchcraft (bolôyi) in an urban and a rural community in the Northern Province of South Africa

Abstract: Witchcraft beliefs among Northern Sotho-speaking people in South Africa can be summarised as follows from a recent community study: (Peltzer submitted): Witches can be divided into 'night boloyi' (witchcraft) and 'day boloyi' (sorcery). The former inherit their powers ("it runs in the family, e.g. from mother to daughter") whereas the latter acquire the skill. Witches use a familiar object for witchcraft which can be small animals like a cat, hyena, wolf, baboon, monkey, snake and certain birds like an owl or a thokoloshe [an ugly small animal symbolizing sexual lust (Niehaus 1995)]. The latter is believed to cause car accidents, being or becoming unemployed, or may even come to your house and take away food. Witches can also transform human beings into a setlotlwane (zombie).