Search Results (13)

This essay examines how contemporary Anglophone Chinese women writers rewrite the imagery of Chinese snake women through speculative retellings that foreground sisterhood, queer desire, and diasporic identity. Drawing on queer diaspora studies and feminist criticism, I argue that Larissa Lai’s Salt Fish Girl (2002) and Amanda Lee Koe’s Sister Snake (2024) revise the figure of the Chinese snake woman to imagine forms of female intimacy and kinship that transcend heteronormative and patriarchal frameworks. In these works, sisterhood operates both as a familial bond and as an intimate, queer relation charged with affective, physical, and occasionally erotic intensity. The original White Snake legend—one of China’s Four Great Folktales—has long invited queer readings, especially through the complex relationship between White Snake and her companion Green Snake. In dialogue with the Chinese snake myth, Lai and Koe relocate the snake woman into speculative worlds shaped by queer desire, racial marginalization, and transnational migration. In Salt Fish Girl, Lai reimagines the reincarnations of the half-snake Chinese mother goddess Nu Wa across colonial South China and near-future bio-capitalist Canada, portraying a cross-temporal lesbian love between the protagonist and the titular Salt Fish Girl. In Sister Snake, Koe’s protagonists—serpent sisters Su and Emerald, separated between Singapore and New York—disrupt normative family scripts while forging a fragmented but enduring affective bond. Through the motif of the Chinese snake woman, these works construct imaginative spaces in which intimate sisterhood subverts patriarchal and national containment, advancing a queer vision of female togetherness. Full article

Agape, philia, and eros are the forms of love that receive most attention in the work of the French philosopher Paul Ricœur. The general consensus among commentators is that when Ricœur talks about agape, he means a love that is all about giving, with no expectation of receiving anything in return; and when he talks about eros, he means something close to erotic love or erotic desire. This article builds on the research of two French commentators, Olivier Abel and Jérôme Porée, to offer a more detailed account of what Ricœur says about love of neighbour and concern for others, and where he says it, during one very specific period: 1947–1960. That is the period when Ricœur was very committed to education reform in France. However, the article disputes Abel and Porée’s interpretation of what Ricœur means by eros in Fallible Man, a work of philosophical anthropology published in 1960. The article shows that Ricœur’s interpretation of eros, far from being the standard one, is in fact highly original, and a perfect example of the imaginative use of philosophical resources that marked his early career. The article also discusses The Symbolism of Evil, a second work of philosophical anthropology that Ricœur published the very same year. In the context of that discussion, it draws attention to two references to “love” that link back to the eros of Fallible Man. It then offers a close reading of Marguerite Léna’s insightful commentary on a remarkable passage from The Symbolism of Evil, where Ricœur talks about the essential roles that love and fear play in all forms of education, including moral education. Full article

This article examines two Caribbean texts which use 20th-century journeys on passenger ships as opportunities to investigate ways in which colonial anxieties of race and gender are worked out through nautical desires. Mayra Montero’s erotic novel La última noche que pasé contigo (1991) and Claude McKay’s Romance in Marseille (2020) both wrestle with the imagined and material consequences of pervasive anti-blackness. They also raise crucial questions about embodied practices of struggle for survival. My analysis seeks to answer the following questions. What happens when anti-blackness masquerades as desire? How do we read and represent an anti-blackness that seeks to consume parts of the Caribbean and then dispense as refuse with what it sees as superfluous? What reading practices might we adopt in order to make sense of Caribbean bodies dehumanized on their own shores, and what narrative solutions might Caribbean fiction propose that might begin to restore humanity and value to these bodies? Full article

The term BDSM is used to describe a wide range of sexual practices, with previously negotiated and mutually consented rules, which take place through a carefully dramatized exercise of roles and powers in the context of erotic and/or sexual interaction. This qualitative study explores the paths and discourses of 14 Portuguese men who practice BDSM and self-identify as submissive. In-depth online interviews were conducted to contextualize the emergence, development, and self-assessment of their practices. The thematic analysis of the results identified three themes: (1) between the awakening and consolidation of interest in the BDSM universe, (2) contacts, encounters, and (dis)continuities, and (3) erotic and sexual experiences (un)blindfolded. The reading of the results is based on a non-pathologizing perspective and highlights a positive evaluation of the sexual experiences reported, motivated by an intentional and collaborative search for pleasure and eroticism that violates traditional gender boundaries. It is recommended that future empirical studies are carried out using non-pathological models associated with BDSM, which could expand knowledge and legitimize different ways of experiencing sexuality. Full article

This article reads Alcibiades’ speech in Plato’s Symposium in terms of the later Foucault’s examination of ‘parrhēsia’, or ‘frank spokenness’. It contends that, in part, Alcibiades’ stress on the sheer particularity and individuality of erotic attraction—in his case, attraction to Socrates himself—acts as a kind of rejoinder to the ‘impersonal’ aspect of erôs highlighted in the famous speech of Socrates/Diotima. Full article

Sexual arousal (SA) is a multidimensional experience that includes cognitive, emotional, motivational and physiological components. Texts with erotic content have been used to generate a state of SA. Erotic texts often include aggressive content that has not been evaluated in relation to SA. The aim of this work was to compare cortical functionality in women when reading a sexually explicit text (SET) and a sexually explicit text with aggression (SETA). Twenty-seven women participated. The EEG activity of the frontal, temporal and parietal locations was recorded during the reading of both texts. The participants found the SET to be more pleasant than the SETA. Both texts were identified as triggers of general and SA. While reading the SETA, there was an increase in absolute power in the frontal and parietal locations, a higher intrahemispheric correlation between the left frontal and temporal locations in fast frequency bands and a greater interhemispheric correlation between the frontal locations in the delta and alpha1 bands. These findings indicate that cortical functionality during SA in women differs based on the content and context of the erotic material being read, possibly associated with mechanisms that underlie the processing and incentive value assignment of stimuli with sexual and aggressive connotations. Full article

There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century. Full article

This article compares two biblical accounts: the description of the construction of the Tabernacle (Ex. 25–40), and its connection to the myth of Eve’s creation (Gen. 2). I aim to reveal the literary and symbolic links between “feminine” attributes in these two formative accounts, from their development in biblical literature to their appearances in rabbinic midrash and medieval Kabbalah. My reading seeks to combine gender, myth, and literary study, to explore how erotic images of the sacred were developed and proliferated over generations. Full article

This essay examines Georgia Douglas Johnson’s poetic depictions of Black motherhood and childhood in the annual “Children’s Numbers” of The Crisis that appeared from 1912 to 1934. Visually and discursively, the run of “Children’s Numbers” stages the modern crucible of educating Black children on the realities of racism and contends with racialized notions of childhood innocence. This essay considers how Johnson’s poems respond to such ideas of education and innocence in W.E.B. Du Bois’ editorials on childhood and the photographs of Black children that appeared in these issues. Focusing primarily on Johnson’s motherhood poems that appeared in the “Children’s Numbers” and the striking photographs of children that accompanied these poems, this essay asserts that Johnson’s poems disrupt racialized notions of childhood innocence, intervene in discourses on Black education, and challenge the representational politics of the “Children’s Numbers” by centering the epistemological perspective of Black motherhood. Furthermore, this essay argues for the benefits of reading Johnson’s motherhood poems in relation to her erotic poetry, demonstrating that Johnson’s poetry of Black motherhood addresses the sexual politics of the Black bourgeoisie at the turn of the century and creates a space for the expression of Black female sexuality. Full article

Anthony Leigh (d. 1692) built his career as a Restoration comedic actor by playing a combination of queer, lascivious, old, and/or disabled men to audiences’ great delight. In this essay, I key in on two plays that frame Leigh’s career: Thomas Durfey’s The Fond Husband (1677) and Thomas Southerne’s Sir Anthony Love (1690). In The Fond Husband, a younger Leigh plays a “superannuated,” almost blind and almost deaf Old Fumble who, in the first act, kisses a man because he cannot navigate the heterosexual erotic economy of the play (as over-determined by able-bodiedness). Over a decade later, in Sir Anthony Love, Leigh plays an aging, queer Abbé who is so earnestly erotically invested in Love’s masculinity (unaware that Love is a woman in drag) that he attempts to seduce Love with dancing. I bring the beginning and end of Leigh’s stage life together to argue that Leigh’s body, performing queerly, asks audiences to confront the limits of pleasure in sustaining fantasies of the abled, autonomous heterosexual self. Using these two Restoration comedies that bookend Leigh’s career, I trace pleasures and queer structures of feeling experienced in the Restoration playhouse. While Durfey and Southerne’s plays-as-texts seek to discipline unruly, disabled queer bodies by making Fumble and the Abbé the punchline, Leigh’s performances open up alternative opportunities for queer pleasure. Pleasure becomes queer in its ability to undo orderings and fantasies based on autonomy (that nasty little myth). In his Apology, Colley Cibber reveals the ways that Leigh’s queerly performing body engages the bodies of audience members. In reflecting on the reading versus spectating experience, Cibber remarks, “The easy Reader might, perhaps, have been pleas’d with the Author without discomposing a Feature; but the Spectator must have heartily held his sides, or the Actor would have heartily made them ache for it” (89). Spectatorship is not a passive role, but rather a carnal interplay with the actor, and this interplay has immediate, bodily implications. Audiences laugh. They ache. They touch. Whereas the reader of a play in private can maintain composure, audiences in the theatre are contrarily discomposed, non-autonomous, and holding onto their sides. Leigh’s ability as a comedian energizes the text and produces pleasure on an immediate, corporeal level for audiences. And that pleasure is generated through stage business built on touching, feeling, and seducing male-presenting characters. Spectatorship may, in fact, be a queer experience as Leigh’s queerly performing body exposes the limits of autonomy. Full article

This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects. Full article

This article discusses the motif of the “architecture of transgression”, which is present most implicitly, in Lars von Trier’s The House that Jack Built. The analysis concerns both the construction of cinematic narrative itself and the subtle allusions, inserted in the script, to two architectural metaphors: the Nietzschean (and Jungian) labyrinth and the Heideggerian die Hütte. Von Trier’s film may be read as an oeuvre immersed in literary tradition—from Dante’s Divine Comedy to the modern Bildungsroman—as well as inspired by modern philosophy, particularly George Bataille’s philosophy of transgression, (as expound in his Erotism and his short 1929 essay on Architecture). Full article

Read theologically, Plato’s Symposium is an exercise in doxology: how Eros is to be praised. Pausanias observes that, since Eros is not one, a unitary praise will be inadequate. Proposing a focus on praxis, he classifies erotic praxes, and praises one, in a synthesis of contemporary convention, sophistic rationality, social responsibility and polytheistic fidelity. Against this Socrates praises erotic praxis as one of a plurality of desires mediating between mortals and an otherwise transcendent good. Desire which is specifically erotic involves a praxis of (pro)creation through attention to beauty. In this praxis mortals participate in immortality and the divine. Pausanias’ praise is seriously offered. However, lacking a participatory element, it delivers an underwhelming doxology, making Eros at best an instrument of a sophistically constructed virtue ethic to which his polytheism is ambiguously connected. It is the philosophical theology of Socrates, which, praising Eros as a mediator enabling participation in the divine realm, and offering itself as an analogous form of mediation, is able to be consummated liturgically. Full article