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Peut-on faire l'amour avec des mots ? Comment ensorceler ses amant∙e∙s par le discours ? Peut-on prendre plaisir aux livres érotiques si l'on n'a jamais vécu soi-même d'expérience sexuelle ? Y a-t-il un lien entre l'amour des livres et la liberté sexuelle ? Les auteurs de littérature érotique sont-ils tous des obsédés ?À travers cet essai littéraire et philosophique, Camille Moreau tend à démontrer que certes le texte accompagne l'expérience érotique, mais qu'il a également la capacité de susciter cette expérience, voire de la constituer. Étayé par une recherche approfondie et rigoureuse, s'appuyant sur un corpus joyeusement éclectique, cet essai aborde la question du texte érotique par le biais philosophique, et non historique, cherchant à dégager les constantes du genre, et à expliquer comment et pourquoi nous jouissons de l'écrit. On voyage ainsi dans ce livre comme dans une bibliothèque luxueuse et confortable, suivant sans efforts Camille Moreau dans ses interrogations et ses découvertes. D'une écriture fluide, cet essai s'adresse aussi bien aux amateurs d'érotisme qu'aux amoureux du livre en général.

Erotic literature --- Eroticism in literature

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Race --- Violence --- Body --- Pornography --- Racism --- Sexuality --- Images of women --- Book --- Dating --- Intersectionality --- Eroticism

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"Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Durer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from - and contributed to - the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book will be essential for historians of art, culture and gender relations in the late medieval and early modern periods"--

Sexology --- Iconography --- Painting --- Graphic arts --- prints [visual works] --- iconography --- eroticism --- witches --- German Renaissance-Baroque styles --- women [female humans] --- fatale vrouw --- Baldung Grien, Hans --- Witches in art. --- Femmes fatales in art. --- Women --- Renaissance --- Baldung, Hans, --- Criticism and interpretation.

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In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954-1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes--the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena--but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick's installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate. Despite the work's recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author's catalogue essay for the original exhibition. Warner here reconsiders Chadwick's influence as an artist who helped to shift conventional aesthetics and transvalue despised, even abominated forms. Exploring the work's richly layered composition in light of intervening years, Warner shows how Chadwick's imagination has shaped many artists' ideas and ethics, and emboldened their adventures with materials.

Art --- installations [visual works] --- multimedia works --- joy --- Nature --- eroticism --- lichaam (van de mens) --- women [female humans] --- Chadwick, Helen --- Artists --- Installations (Art) --- Artists. --- Chadwick, Helen. --- Criticism and interpretation. --- 1900-1999 --- Great Britain.

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Art --- drawings [visual works] --- sculpture [visual works] --- assemblages [sculpture] --- installations [visual works] --- social stratification --- cloth --- eroticism --- hybridity --- fauna --- flora [plants] --- hide [collagenous material] --- human figures [visual works] --- Bruyckere, De, Berlinde