Body, Sensuousness, Eros and the New Aesthetic Order from Schiller to Rushdie

In the present article, I look into the culture-building power of Eros from Schiller’s ideas of “the aesthetic state of mind” in Letters on the Aesthetic Education of Man, through the Pre-Raphaelites’ eroticism to the nineteenthcentury fin de siècle aestheticized homoeroticism and beyond. I argue that eroticism is a reaction to the increasing sense of alienation brought about by bourgeois modernity. The “moments” and texts used to illustrate the thesis that eroticism shaped an alternative order are far from exhausting a very large list which could add nuances to the argument. The body is one of the essential aspects tackled, since eroticism cannot be conceived in its absence. The body may be an object of desire around which imagination weaves its yarn, or a blank page to be inscribed, or a danger zone, or a hypertrophied space projected by the lover’s longing for fusion. Eroticism in Salman Rushdie’s novels is the focus of my approach after a survey of some landmarks of erotic imagination. I argue that his novels are a new stage of the imagination infused by Eros. The article probes into how two centuries of aesthetic modernity have been shaped by the reality principle proposed by Schiller and how that essentially erotic model has suffered changes in time

Eroticism in and of the City: The Question of Approach

Discussions of eroticism usually commence with references to Georges Bataille and his L’Erotisme, whose first English edition was published under the title Death and Sensuality: A Study of Eroticism and the Taboo (1962), thus encouraging analyses in terms of transgression. This article opens with a quotation from Zygmunt Bauman’s essay, “On Postmodern Uses of Sex,” which reflects on the instability of the concept and emphasizes its contextualization. This openly declared incongruity raises questions of applicability. What is meant by eroticism today, i.e. in and after postmodernism? The article seeks to explore the relevance of the term in studies of urban drama and tries to suggest a workable approach that would differentiate between the commonly observable erotic material found on display within the premises of the city and the eroticism of the city itself. In the latter case the erotic relationship involves the materiality of the urban context and its user. The essay, focusing on drama, assumes that plays are written for the stage-their proper mode of existence-and deems it necessary to include the city/theatre and city/drama interdependence as well as the nexus of concepts such as urban drama and its genre restrictions into the following analysis

Eroticism—Politics—Identity: The Case of Richard III

Richard III’s courtship of Lady Anne in William Shakespeare’s King Richard III is a blend of courtly speech and sexual extravaganza. His sexual energy and power of seduction were invented by Shakespeare to enhance the theatrical effect of this figure and, at the same time, to present Richard as a tragic character. Richard’s eroticism in Act 1 Scene 2 makes him a complicated individual. Playing a seducer is one of the guises he uses to achieve his political aims on the one hand, and, on the other, the pose of a sexually attractive lover enables him to put his masculinity to the test. Throughout the scene Richard is haunted by his deformity that, together with his villainy, makes him a stranger to the world and an enemy to his family and the court. In order to overcome his self-image of a disproportional cripple he manifests his sexuality towards Anne to boost his self-esteem and to confirm that the lady will accept him despite his obvious physical shortcomings. This article uses Georges Bataille’s theory of eroticism and erotic desire to characterize Richard as a tragic individual and to explain the reasons behind his unexpected sexual behaviour in the seduction scene

The eroticism of artificial flesh in Villiers de L'Isle Adam's L'Eve Future

Villiers de L'Isle Adam's 'L'Eve Future' published in 1886 features a fictional version of the inventor Thomas Edison who constructs a complex, custom-made android for Englishman Lord Ewald as a substitute for his unsatisfactory lover. Hadaly, the android, has a number of literary and cultural precursors and successors. Her most commonly accepted ancestor is Olympia in E. T. A. Hoffmann's 'The Sandman' (1816) and among her fascinating descendants are Oskar Kokoschka's 'Silent Woman'; Model Borghild, a sex doll designed by German technicians during World War II;‘Caracas' in Tommaso Landolfi's short story ‘Gogol's Wife' (1954); a variety of gynoids and golems from the realms of science fiction, including Ira Levin's 'Stepford Wives' (1972); and, most recently, that silicon masterpiece - the Real Doll. All, arguably, have their genesis in the classical myth of Pygmalion. This essay considers the tension between animation and stasis in relation to this myth, and explores the necrophiliac aesthetic implicit in Villiers's novel

Eroticism in the “Cold Climate” of Northern Ireland in Christina Reid’s The Belle of the Belfast City

Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the patriarchal structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contrast between the presentation of its male and female characters. I will demonstrate that, while the former group desperately cling to the idea of preserving the social status quo, the latter display a more progressive outlook on the social and sexual politics of the country. In particular, I will investigate how the tensions between the representatives of the two sexes reveal themselves in the corporal sphere. I will argue that, as opposed to the erotically-inhibited and physically-inarticulate male characters, the female dramatis personae take advantage of being more connected to their bodies and use their physicality in an erotic fashion to subvert the rules of the patriarchal system and its strict moral code that limits their social roles to those of respectful mothers, obedient sisters or virtuous wives

Between Eroticism and Social Criticism the Literariness of Shahnon Ahmad's Terdedah (1965)

In the history of modern Malay literature, the 1960s are labelled by many literarycritics as era picisan (the age of dime fiction) because of the flood of karya picisan(dime fiction) in the local market. Karya picisan here refers to works that clearlymanipulate sexual themes, with the intent of conjuring an atmosphere of eroticismto attract readers. Critics generally do not consider these works to be karya sastra(literary works) because they do not fulfil two important criteria that commonlyclassify the term ‘literature', namely bahasa yang indah (aesthetic language) and isiyang berfaedah (beneficial content). In the context of this definition of ‘literature',Shahnon Ahmad's 1965 novel Terdedah is considered problematic because ofincongruities in the estimation of its ‘literariness'. As opposed to critics whoinitially labelled it karya picisan, the ‘literariness' of Terdedah was defended byits own author because it contained elements social criticism. This difference inopinion raises an important point regarding the commonly accepted definitionsof ‘literature' and ‘literariness' in Malay literature: after Shahnon proclaimed hisnovel's worth based on its social criticism, critical reception towards Terdedahshowed an unmistakable shift. With respect to this shift of opinion, this articlewill perform a critical analysis of the meaning of ‘literariness' in relation toTerdedah, and in doing so, clearly determine its status as either a karya picisan orkarya sastra, based on the definition of ‘literature' practised in Malay literature

Aspects of Sex Differences: Social Intelligence vs. Creative Intelligence

In this article, we argue that there is an essential difference between social intelligence and creative intelligence, and that they have their foundation in human sexuality. For sex differences, we refer to the vast psychological, neurological, and cognitive science research where problem-solving, verbal skills, logical reasoning, and other topics are dealt with. Intelligence tests suggest that, on average, neither sex has more general intelligence than the other. Though people are equals in general intelligence, they are different in special forms of intelligence such as social intelligence and creative intelligence, the former dominant in women, the latter dominant in men. The dominance of creative intelligence in men needs to be explained. The focus of our research is on the strictly anthropological aspects, and consequently our explanation for this fact is based on the male-female polarity in the mating systems. Sexual dimorphism does not only regard bodily differences but implies different forms of sex life. Sex researchers distinguish between two levels of sexual intercourse: procreative sex and recreational sex, and to these we would add “creative sex.” On all three levels, there is a behavioral difference between men and women, including the subjective experience. These differences are as well attributed to culture as genetically founded in nature. Sexual reproduction is only possible if females cooperate. Their biological inheritance makes females play a decisive role in mate choice. Recreational sex for the purpose of pleasure rather than reproduction results from female extended sexual activity. Creative sex, on the contrary, is a specifically male performance of sexuality. We identify creative sex with eroticism. Eroticism evolved through the transformation of the sexual drive into a mental state of expectation and fantasizing. Hence, sex differences (that nowadays are covered up by cultural egalitarianism) continue to be the evolutionary origin of the difference between social and creative intelligence