She has hit her stride again, with an erotic love story that's full of suspense, adventure, and menace.
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But the one she keeps coming back to is Botticelli's Venus, a Renaissance painting of the Roman god of erotic love.
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And these friendships have been, in many ways, more mysterious than erotic love: more subtle, less selfish, more attuned to kindness.
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The film was marketed as an erotic love story, but the real love story is Hunter's passionate affair with the title character.
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Picador; £14.99 A lyrical, experimental novel about faith and adultery, divine and erotic love, worship and transgression, from an accomplished writer of short stories.
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The Whitbread-winning 'THE SACRED AND PROFANE LOVE MACHINE' for more adultery and much ado about whether "pure" love or erotic love matters most.
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Whether in Stalinist Russia or George Orwell's "1984," totalitarian governments want to eradicate erotic love so that the only legitimate form of love will be comradely love.
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Writing in The New York Times, Vincent Canby called Jane Campion's tale "one of the funniest, most strangely erotic love stories in the recent history of film."
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In the Song of Songs, the Bible's erotic love poem, mentioned in Gopnik's essay, ancient Israel is portrayed as a bride to be wooed and seduced by God.
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In the two drawings "Untitled (Toilet of Venere)" (1988), Twombly turns his attention to the classical subject of Venus gazing into a mirror held by Cupid, thus linking beauty and erotic love.
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Botticelli shows Venus, the Roman goddess of erotic love, emerging from the sea foam where she was born, while winds blow roses into her hair and a handmaiden waits to drape her in silk.
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The great erotic love of his life, his Croatian mistress, Drenka Balich, who along with her husband ran the inn at Madamaska Falls, has recently died of ovarian cancer, leaving Sabbath grief-stricken and desperate.
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Before the entrance to the balcony were two giant clamshells, signaling the birth of erotic love (Ferrari helpfully pointed me to a photocopied image of Botticelli's "The Birth of Venus"), and oval mirrors signifying eggs and wombs.
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His subject was most often the body: as a vehicle for the expression of desire — erotic love between men was an echoing theme — as the repository for a wellspring of emotion and, increasingly, as a locus of decay.
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With fine, devastating performances from the film's three leads, and a sublimely erotic love scene between the Rachels, Mr. Lelio once again ponders matters of choice and freedom in a story of forbidden desire with two fantastic women at its heart.
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In his comedy specials Nice Try, the Devil (2013) and Faces and Sounds (2016), he attempted to bridge the gap between the silly and the relatable, with jokes about everything from his erotic love for Ryan Gosling to riding with a flute-practicing Uber driver.
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For the Greeks, "Beauty and the Beast" predecessor "Eros and Psyche" was a way of talking about the relationship between the soul and erotic love, and its other predecessor, "Hades and Persephone," was a way of talking about the relationship between life and death.
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He would have welcomed a clearer acceptance of the reality of same-sex orientation; he would have liked a stronger affirmation of the sanctity of erotic love, to which the document devotes two pages; and he regretted the reluctance to acknowledge over-population as an issue in developing countries.
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The son of an alcoholic father who had abandoned his family and recently died — and now stuck in a too-early marriage to his freshman-year college girlfriend, even though "I, at least, didn't have a clue how to be in erotic love" — Kaag had sought a guiding light.
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The whole composition evokes fantasies of erotic love. The work is currently (2018) not on view.
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It was named by its Latin name after Cupid, the Roman god of erotic love, attraction and affection.
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The poem celebrates Pagan Love as described by Robert Jammes and conversely criticizes the intellectualism that needlessly justifies and consequently stifles erotic love.
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For this reason she always leaves a service in tears. Common syncretizations include Iyalorde Oxum, that is the goddess Oshun as she relates to the Yoruba goddess of erotic love, gold and femininity.
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One cannot truly love another person if one does not love all of mankind including oneself. The book includes explorations of the theories of brotherly love, motherly and fatherly love, erotic love, self-love, and the love of God, and an examination into love's disintegration in contemporary Western culture. Fromm explains what he calls "paradoxical logic"—the ability to reconcile opposing principles in one same instance. He highlights paradoxical logic in the chapters dedicated to the love of God and erotic love.
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Encyclopædia Britannica entry. The term erotophobia can also be used when describing genophobia. It comes from the name of the Greek god of erotic love, Eros. Genophobia can induce panic and fear in individuals, much like panic attacks.
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The texts are mainly in the form of a wangsalan (poetic riddle), and deal with a wide variety of subjects.Sumarsam, 96. Much of the text is erotic love poetry, describing the attraction of Kengjang Ratu Kidul to Sultan Agung.Becker, 128.
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Marian Ruth Engel (née Passmore; May 24, 1933 – February 16, 1985) was a Canadian novelist and a founding member of the Writers' Union of Canada. Her most famous and controversial novel was Bear (1976), a tale of erotic love between a librarian and a bear.
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Throughout the next fourteen years, von Puttkamer published 28 more books, including poetry, short stories, plays and novels. By 1910, her writings were not only centered on lesbian erotic love but also on the use of morphine. By the end of her life, von Puttkamer had written over 46 works.
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In classical mythology, Cupid (Latin Cupīdō , meaning "passionate desire") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the god of war Mars. He is also known in Latin as ' ("Love"). His Greek counterpart is Eros.
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The Circle of Eros: Sexuality in the Work of William Dean Howells is a study of the nineteenth-century American author and editor William Dean Howells. The book discusses the sexual themes in his novels, essays, and autobiographies, and shows how he arrived at a positive view of erotic love.
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Scruton believes that traditional accounts of sexuality have failed to explain the place of sexual desire in love, friendship, and esteem. Following the views of Socrates, as reported in Plato's dialogue Symposium (4th century BC), he argues that it is problematic to hold that sexual desire either is part of love or that it is not part of love, since the former view suggests that erotic love cannot be a form of friendship and the latter suggests that love is never erotic. He refers to this dilemma as "Plato's question". He criticises Plato's ideas about love, such as his belief that desire, as a physical urge, has no place in love, and argues that erotic love is both a form of desire and a form of love.
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He argues that the capacity for erotic love is a virtue, and that sexual virtue involves avoiding habits that impede the "development of the sexual impulse towards love" and acquiring dispositions that encourage that development. He considers preventing jealousy an essential moral task. He argues that because virtuous desire is "an artefact, made possible by a process of moral education which we do not, in truth, understand in its complexity" much of "traditional sexual morality" must be upheld. For Scruton, this includes the traditional condemnation of lust and perversion, the former of which he defines as sexual desire "from which the goal of erotic love has been excluded", and latter of which he defines as "a diverting of the sexual impulse from its interpersonal goal".
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A Companion to Shakespeare's Sonnets. Malden: Blackwell Publishing, 2010. Print. p 1. Some commentators, noting the romantic language used in the Fair Youth sequence, call these poems a "daring representation of homoerotic...passions,"(Cohen 1745) of "passionate, erotic love,"(Cohen 1749) suggesting that the relationship between the addressee and the Fair Youth is sexual.
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The defeat marked a qualitative shift in Qabbani's work – from erotic love poems to poems with overt political themes of rejectionism and resistance. For instance, his poem Marginal Notes on the Book of Defeat, a stinging self-criticism of Arab inferiority, drew anger from both the right and left sides of the Arab political dialogue.
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An "observer" may say that the resolution of love was lacking because the marriage didn't work out but how does the observer know that? Perhaps "it wanted a rebirth of erotic love" or of "earnestness".Three Discourses on Imagined Occasions, Hong p. 55ff, 35 A poet looks for the "rare individual" in order to demonstrate love's rebirth.
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Berenice Venus or "The Benghazi Venus" is an ancient Cyrenaican Greek marble statue of the goddess of sexuality and erotic love Venus (150–100 BCE). It was found in Benghazi, Libya. which may have once marked the location of the legendary Lake Tritonis.The Benghazi Venus It is currently located in the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia, Pennsylvania.
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Vanden Winter ende vanden Somer is a Middle Dutch drama. It is the shortest of the four abele spelen ("able plays") contained in the Van Hulthem Manuscript, comprising 625 lines in rhyme. The other abele spelen are: Esmoreit, Gloriant and Lanseloet van Denemerken. The play deals with the battle between Winter and Summer and their role in arousing erotic love.
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His poems released in the 1960s describe inner world through surrealistic representations. Both Chunghayngyeonga (춘향연가 Chunhyang's Love Poem), a long poem published in 1967, and Sokui bada (속의 바다 The Ocean of the Inside), serial poetry, published in 1970, express a fantastically surreal atmosphere. Chunhyang’s Love Poem borrows the situation of her in jail from the classic, The Tale of Chunhyang. This poem highlights erotic love.
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Anacreontea () is the title given to a collection of some 60 Greek poems on the topics of wine, beauty, erotic love, Dionysus, etc. The poems date to between the 1st century BC and the 6th century AD, and are attributed pseudepigraphically to Anacreon. The collection is preserved in the same 10th- century manuscript as the Anthologia Palatina (Palatinus gr. 23), together with some other poetry.
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Jacques Ferrand was a French physician born around 1575 in Agen, France. He is famous for his treatise on melancholia, Traicte de l'essence et guerison de l'amour ou de la melancholie erotique (1610), an early psychological work on melancholia. It was for this work he was put on trial for by the Inquisition. Donald A. Beecher: "Erotic Love and the Inquisition: Jacques Ferrand and the Tribunal of Toulouse, 1620".
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Cupid's bow feature on a human lip The Cupid's bow is a facial feature where the double curve of a human upper lip is said to resemble the bow of Cupid, the Roman god of erotic love. The peaks of the bow coincide with the philtral columns giving a prominent bow appearance to the lip. The phrase is common in literature, often used related to speech, and therefore the mouth.
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Cicero add his own digression on the opinions offered by different philosophers. He then (§68–76) moves on to the theme of erotic love. Many of these ideas come from Chrysippus, but Cicero uses examples drawn from Latin poetry instead of the Greek poets. The therapeutic ideas (§74–5) about introducing distractions or substituting a new lover for an old one are presumably part of Cicero's "Peripatetic" cures.
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An Ina household, therefore, blurs the boundaries between familial and erotic love by having its members involved with each other sexually. Butler highlights the strangeness of the Ina sexual arrangements through the reactions of Shori's first symbiont, Wright. According to Melissa Strong, Wright responds to Shori's pansexuality with biphobia; for him, proper sexuality has clear categories: male and female, heterosexuality and homosexuality. Ultimately, Butler's inclusion of alternative sexualities serves to erode rigid hierarchies.
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Sringāra Rasa-abhinaya by Nātyāchārya 250px Sringara (, ) is one of the nine rasas, usually translated as erotic love, romantic love, or as attraction or beauty. Rasa means "flavour", and the theory of rasa is the primary concept behind classical Indian arts including theatre, music, dance, poetry, and sculpture. Much of the content of traditional Indian arts revolves around the relationship between a man and a woman. The primary emotion thus generated is Sringara.
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Works of Love () is a work by Søren Kierkegaard written in 1847. It is one of the works which he published under his own name, as opposed to his more famous "pseudonymous" works. Works of Love deals primarily with the Christian conception of ' love in contrast with erotic love (') or preferential love (') given to friends and family. Kierkegaard uses this value/virtue to understand the existence and relationship of the individual Christian.
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Mohammad Mostaghimi, an Iranian poet who lives in Isfahan, has translated some of her poems into Persian. Jeff Hansen, writing for Altered Scale, praised Shmailo's book In Paran. He contrasted the erotic love poems in the first section of the book to the disillusioning poems of the later sections. Chris Campanioni praised Shmailo's book #specialcharacters and its anti-capitalism themes in the Brooklyn Rail, placing it between Millennials thought and Language poetry.
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This minor planet was named "Cupido", the Latin name of Cupid, god of erotic love, attraction and affection in Roman mythology whose Greek counterpart is Eros (also see asteroid 433 Eros). Cupido was named due to its relative proximity to the Sun probably by Swedish astronomer Bror Ansgar Asplind (1890–1954) who was honored by asteroid 958 Asplinda. The was mentioned in The Names of the Minor Planets by Paul Herget in 1955 ().
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Trevor Hale is attractive, witty, uncommonly intelligent—and he may be Cupid, the Greco-Roman god of erotic love. Probably not, but he thinks so. Trevor's insistence that he is Cupid lands him in a mental hospital, where he meets psychologist Claire Allen, a renowned authority on romance. Trevor tells Claire that he has been stripped of his godly powers by Zeus, and exiled from Mount Olympus as a punishment for arrogance.
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Asian feminist theologians see sexuality is an important part of spirituality. For some such as Elizabeth Dominguez, sensuality and erotic love is to be embraced as God has intended it to be the purest form of human communion. Reacting against traditional church teachings that inhibit the eroticism of women, for Asian feminist theologians, a woman's sensuality is something that is liberating and freeing, allowing them to feel deeply towards God and others.
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The men include the philosopher Socrates, the general and political figure Alcibiades, and the comic playwright Aristophanes. The speeches are to be given in praise of Eros, the god of love and desire. In the Symposium, Eros is recognized both as erotic love and as a phenomenon capable of inspiring courage, valor, great deeds and works, and vanquishing man's natural fear of death. It is seen as transcending its earthly origins and attaining spiritual heights.
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It was a landmark Renaissace building, being the first church to use the Roman triumphal arch as part of its structure. Sigismondo also built a notable series of fortifications in his Romagna possessions, including the Rocche ("Castles") of Rimini and Fano. Malatesta's reputation was largely based on Pius II's perception of him, although numerous contemporary chronicles described him as a tyrant and a womanizer: he delved in "rape, adultery, and incest".Erotic Love through the ages , Sardi.
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Even the desire to propagate, according to Plato, is a kind of desire for immortality—that is, we wish to live on in time through our children and their children. Erotic love itself appears as an example of this desire for something beyond the purely finite. It is a taste of what could be, if only it could continue beyond the boundaries of time and space. As the analogy implies, humans seek something beyond the here and now.
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During this the Oedipus complex occurs, where the boy feels erotic love for his mother (Electra complex in girls where love is directed towards the father). As time progresses and the boy matures, he is slowly able to let go of the rival feelings he has towards his father and free himself from his love for his parents. At this time, the boy learns to emulate masculine attributes from his father and subsequently to identify with him.Mullahy. P. (1948).
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Indra sends the god Kama—the Hindu god of desire, erotic love, attraction, and affection—to awake Shiva from meditation. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva; she begins to live like him and engage in the same activities—asceticism, yogin and tapasya—awakening him and attracting his interest.
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The Sanskrit word bhakti is derived from the verb root bhaj-, which means "to divide, to share, to partake, to participate, to belong to". The word also means "attachment, devotion to, fondness for, homage, faith or love, worship, piety to something as a spiritual, religious principle or means of salvation".bhakti Sanskrit English Dictionary, University of Koeln, Germany The meaning of the term Bhakti is analogous to but different from Kama. Kama connotes emotional connection, sometimes with sensual devotion and erotic love.
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All songs in this film became hits. The song "Manmadha Leelayai Vendrar Undo" celebrating erotic love has become an enduring hit and the phrase has entered every day Tamil usage. Papanasam Sivan was the composer and G. Ramanathan was in charge of the orchestration. A partial list of songs from Haridas: Two songs, sung by N. C. Vasanthakokilam ('Enadhu Manam Thulli Vilaiyaaduthe' and 'Kannaa Vaa') were recorded by HMV distinct from the film version of these songs and were released with black label.
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Notably, Christ is crucified not on a cross, but an oak tree, which Cullhed argues "synthesizes Jewish, Roman and Christian religious codes", as the species of tree was associated in the Greco-Roman world with Jupiter, and in the Judeo-Christian tradition with the Binding of Isaac.Cullhed (2015), p. 182. After covering Christ's death, Proba borrows lines referring to the erotic love between Dido and Aeneas to represent the decidedly more spiritual love that Christ shares with his disciples.Cullhed (2015), p. 184.
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Among the play's themes is the contrast of Indian and European styles of poetry and visual art. Nirad explains to Flora the classical Indian theory of nine rasas, which are tonal schemes uniting all forms of art. Each rasa is associated with a colour, a mood, and a musical scale. The play's title refers to Shringara, the rasa of erotic love, which is associated with an inky blue-black colour and the god Krishna, who is always painted with dusky blue skin.
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The Sanskrit word bhakti is derived from the root , which means "divide, share, partake, participate, to belong to". The word also means "attachment, devotion to, fondness for, homage, faith or love, worship, piety to something as a spiritual, religious principle or means of salvation".Monier Monier-Williams, Monier-Williams Sanskrit English Dictionary, Motilal Banarsidass, page 743bhakti Sanskrit English Dictionary, University of Koeln, Germany The meaning of the term Bhakti is analogous to but different from Kama. Kama connotes emotional connection, sometimes with sensual devotion and erotic love.
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The book's philosophical themes are presented chiefly by the Platonist philosopher Max Lejour, in his conversations with his former student Effingham Cooper. Their discussion of the situation at Gaze Castle in Chapter 12 deals with power, freedom, suffering, and especially with the nature of "goodness". The typically Murdochian situation of an "enchanter" character surrounded by his or her coterie is exemplified by the household at Gaze. The relationships among the characters also illustrate the connection between erotic love and power relations that runs through Murdoch's fiction.
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His attraction to Persuasion was based on his belief that it was Austen's most emotional and poignant novel, as well as her most autobiographical. He described the work as an "erotic love story which is full of sexual yearning". While directing, Michell sought to emphasise contrasts in Austen's story, seen for instance between "the chilly formality of Kellynch Hall and the warm, wet feel of Uppercross". The Royal Navy was another point of interest, as officers like Wentworth would often have returned to society wealthy and full of stories.
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After a bout of tuberculosis, Takahashi graduated from the Fukuoka University of Education, and in 1962 moved to Tokyo. For many years, he worked at an advertising company, but in the meantime, he wrote a good deal of poetry. His first book to receive national attention was , an anthology published in 1964 that describes male-male erotic love in bold and direct language. A laudatory review from the critic Jun Etō appeared in the daily newspaper Asahi shimbun with Takahashi's photograph—an unusual instance of a poet's photograph included in the paper's survey of literature.
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In order to be able to truly love another person, one needs first to love oneself in this way. Fromm calls the general idea of love in contemporary Western society ' – a relationship in which each person is entirely focused on the other, to the detriment of other people around them. The current belief is that a couple should be a well-assorted team, sexually and functionally, working towards a common aim. This is in contrast with Fromm's description of true erotic love and intimacy, which involves willful commitment directed toward a single unique individual.
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According to Roman mythology, the wild pansy turned into the Love-in-idleness as Cupid shot one of his arrows at the imperial votaress, but missed and instead struck it. As Cupid is the god of desire, affection and erotic love, the flower’s juice received the trait, to act as a love potion. Its name relates to the use of the flower, as it is often used for idleness or vileness acts. According to Greek mythology, Zeus fell in love with a young woman named Io and provoked jealousy to his wife Hera.
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Mary grew up in a house on the south-west side of St James Square, close to St James's Park and Whitehall palace, and from an early age she was surrounded by the high society of The Restoration. Mary followed in her mother’s footsteps, and began acting at a young age. She was a part of the many performances put on at Charles II’s elaborate court. At age nine, she sang the part of the Roman god of desire, erotic love, attraction and affection, Cupid, alongside her mother, who was starring as Venus, in the play Venus and Adonis.
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In the classical world, erotic love was generally referred to as a kind of madness or theia mania ("madness from the gods"). This love passion was described through an elaborate metaphoric and mythological schema involving "love's arrows" or "love darts", the source of which was often the personified figure of Eros (or his Latin counterpart, Cupid),See, for example, the Amores and the Heroides of Ovid which frequently refer to the overwhelming passion caused by Cupid's darts. or another deity (such as Rumor).See Paris's letter to Helen of Troy, in Ovid, Heroides and Amores, XVI, 36-38.
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Johnson wrote: "Elizabeth's relationship with Darcy resonates with a physical passion...The rapport between these two from start to finish is intimate, even racy".Johnson, Claudia Jane Austen, Chicago: University of Chicago Press, 1988, p. 90. Johnson wrote the way in which Elizabeth and Darcy pursue each in secret put their relationship "on the verge of an impropriety unique in Austen's fiction". Many of the remarks made by Elizabeth to Darcy such as "Despise me if you dare" or his "I am not afraid of you" resound with sexual tension, which reflected "Austen's implicit approval of erotic love".
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Erotophobia is a term coined by a number of researchers in the late 1970s and early 1980s to describe one pole on a continuum of attitudes and beliefs about sexuality. The model of the continuum is a basic polarized line, with erotophobia (fear of sex or negative attitudes about sex) at one end and erotophilia (positive feelings or attitudes about sex) at the other end. The word erotophobia is derived from the name of Eros, the Greek god of erotic love, and Phobos, Greek (φόβος) for "fear". Researchers occasionally use the term "sex-negative" interchangeably with erotophobia and "sex-positive" interchangeably with erotophilia.
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The Romantic composer Franz Liszt set three of Petrarch's Sonnets (47, 104, and 123) to music for voice, Tre sonetti del Petrarca, which he later would transcribe for solo piano for inclusion in the suite Années de Pèlerinage. Liszt also set a poem by Victor Hugo, " O quand je dors" in which Petrarch and Laura are invoked as the epitome of erotic love. While in Avignon in 1991, Modernist composer Elliott Carter completed his solo flute piece Scrivo in Vento which is in part inspired by and structured by Petrarch's Sonnet 212, Beato in sogno. It was premiered on Petrarch's 687th birthday.
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While there are obvious homoerotic implications to this dialogue, its presence in the play shows how the exchange created by merchants helps to sustain society. In addition to exchange, another economic element that serves as a metaphor in the play is excess, which is most strongly exhibited through passion. While Barnwell begins by following calm commerce, a passionate lust replaces it with the theft from Thorowgood and murder of Barnwell's uncle. Hynes describes that the most dangerous thing about passion is its insatiability, because "erotic love, unlike trade, includes no machinery of impulse and abatement, no way of rationally regulating itself".
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Although relatively unknown at the time of his death, his influence on later Russian writers has been considerable. Some of his work was published or reprinted during the 1960s' Khrushchev Thaw. Because of his political writings, perceived anti-totalitarian stance, and early death from tuberculosis, some English-speaking commentators have called him "the Russian George Orwell". In journalism, stories, and poetry written during the first postrevolutionary years (1918–1922), Platonov interwove ideas about human mastery over nature with skepticism about triumphant human consciousness and will, and a sentimental and even erotic love of physical things with a fear and attendant abhorrence of matter.
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In 1991, Dr. Baratham published his most successful novel, A Candle or the Sun,Review by Koh, Buck Song, "Light, love, liberty" The Straits Times, 31 August 1991 which he had started working on in 1983. The novel was published in London and not in Singapore due to its controversial nature. The novel was loosely based on Operation Spectrum, the case of the so-called Marxist conspiracy, a group of Catholic activists whom the Singapore government had declared to be Communists and subsequently arrested. The same year he also published an erotic love- story called Sayang set in Singapore, Malaysia, and Indonesia.
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The novella is rife with allusions from antiquity forward, especially to Greek antiquity and to German works (literary, art-historical, musical, visual) from the eighteenth century on. The novella is intertextual, with the chief sources being first the connection of erotic love to philosophical wisdom traced in Plato's Symposium and Phaedrus, and second the Nietzschean contrast between the god of restraint and shaping form, Apollo, and the god of excess and passion, Dionysus. The trope of placing classical deities in contemporary settings was popular at the time when Mann was writing Death in Venice. Aschenbach's name and character may be inspired by the homosexual German poet August von Platen-Hallermünde.
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Many consider "Moonlight Mile" one of the Rolling Stones' most underappreciated ballads. In a review of the song, Bill Janovitz says, "Though the song still referenced drugs and the road life of a pop-music celebrity, it really is a rare example of Jagger letting go of his public persona, offering a behind-the-scenes glimpse of the weariness that accompanies the pressures of keeping up appearances as a sex-drugs-and-rock & roll star." Rock critic Robert Christgau said the song, "re-created all the paradoxical distances inherent in erotic love with a power worthy of Yeats, yet could also be interpreted as a cocaine song."Christgau, Robert.
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Glenn drives Paul to her Malibu beach house, where they make erotic love, interspersed in his mind with a kaleidoscopic riot of abstract images intercut with visions of pursuit on a beach, a scene that is a sly homage to Ingmar Bergman's film, The Seventh Seal (1957). Driven into the surf by his pursuers, Paul turns and faces both of them, and they reveal themselves to be his wife and Glenn. As the sun rises, Paul returns to his normal state of consciousness now transformed by the trip and steps out to the balcony to get some fresh air. Glenn asks him whether his first LSD experience was constructive.
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He made the case that common experiences related to sex, such as obscenity, modesty and shame, falling in love, and jealousy, involve intentionality. He defended traditional sexual morality, but rather than basing his arguments on religion, he wrote from a secular perspective, following an approach suggested by Aristotle in the Nicomachean Ethics. He upheld the traditional condemnation of lust (which he defined as sexual desire "from which the goal of erotic love had been excluded") and perversion (which he defined as "a diverting of the sexual impulse from its interpersonal goal"). In his view, sexual perversion involves failure to recognise "the personal existence of the other", and this justifies its moral condemnation.
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Following this study, Realdo Colombo (also known as Matteo Renaldo Colombo), a lecturer in surgery at the University of Padua, Italy, published a book called De re anatomica in 1559, in which he describes the "seat of woman's delight". In his role as researcher, Colombo concluded, "Since no one has discerned these projections and their workings, if it is permissible to give names to things discovered by me, it should be called the love or sweetness of Venus.", in reference to the mythological Venus, goddess of erotic love. Colombo's claim was disputed by his successor at Padua, Gabriele Falloppio (discoverer of the fallopian tube), who claimed that he was the first to discover the clitoris.
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For example, love rasa in Hindu imagination has many musical flavors, such as erotic love (sringar) and spiritual devotional love (bhakti). In the theories of Indian poetics, ancient scholars state that the effectiveness of a literary composition depends both on what is stated and how it is stated (words, grammar, rhythm), that is the suggested meaning and the experience of rasa. Among the most celebrated in Hindu traditions on the theory of poetics and literary works, are 5th-century Bhartrhari and the 9th-century Anandavardhana, but the theoretical tradition on integrating rasa into literary artworks likely goes back to a more ancient period. This is generally discussed under the Indian concepts of Dhvani, Sabdatattva and Sphota.
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42William J. Wilkins, Uma – Parvati, Hindu Mythology – Vedic and Puranic, Thacker Spink London, pp 300–301In the Ramayana, the river goddess Ganga is the first daughter and the elder sister of Parvati; William J. Wilkins, Uma – Parvati, Hindu Mythology – Vedic and Puranic, Thacker Spink London According to different versions of her chronicles, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. Indra sends the god Kama – the Hindu god of desire, erotic love, attraction, and affection, to awake Shiva from meditation. Kama reaches Shiva and shoots an arrow of desire.James Lochtefeld (2005), "Parvati" in The Illustrated Encyclopedia of Hinduism, Vol.
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Contrary to the tranquil and idealized settings typical of the pastoral genre, Góngora maintains a fluctuating Background–Foreground dynamic throughout the Polifemo, which makes itself apparent at the very beginning of the poem. Given his fondness for convoluted and self-fashioned metaphors in addition to his profuse use of hiperbatón, the quality of the lyrical poetry defamiliarizes and reconfigures all aspects of the original narration (see ostranenie). The presence of contrasts, of antithesis and dissimilitude reflects a veritable lack of aesthetic concentration as well as deficient narrative unity deemed necessary in traditional Aristotelean aesthetics. Instead, Góngora juxtaposes conflicting images of beauty and ugliness, harmony and discord to hint at an underlying dichotomy of erotic love as both prolific and destructive.
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He wrote that Scruton made misleading or incorrect statements and drew conclusions about human nature in general from his own experience. He criticised his views about jealousy, embarrassment and friendship, sexual arousal, homosexuality, women's experience, feminism, psychoanalysis, and obscenity, and argued that his outline of a "general moral theory" ignored possible objections from anthropologists and historians and that Scruton presented idealised accounts of sexual desire and love. However, he expressed a more favorable view of his discussions of other topics, including nakedness, orgasm, narcissism, sociobiology, gender identity, perversion, and Platonic love. He agreed with Scruton that Plato's view that desire has no place in love should be rejected, and welcomed Scruton's defense of the claim that erotic love is a genuine possibility.
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The opinion that eros is inherently good follows a school of thought in the Catholic Church known as the "Caritas tradition", and contrasts with the view expressed, for example, by Anders Nygren, a Lutheran bishop, in his mid-20th century book Eros and Agape, that agape is the only truly Christian kind of love, and that eros is an expression of the individual's desires and turns us away from God.Pope on divine love vs. erotic love (Chicago Sun-Times, 4 January 2006) These two positions have been an ongoing cause for debate in both Catholic and Protestant theology. The continuity of these two forms of love follows the traditional Catholic understanding, which is influenced by the philosophy of Plato, Augustine, Bonaventure and ancient Jewish tradition.
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155 He was the author or editor of nearly fifty books, including such erotic landmarks as Mr. Benson and I Once Had a Master and Other Tales of Erotic Love. Other works include Franny, the Queen of Provincetown (first a novel, then adapted for stage), The Big Gay Book: A Man's Survival Guide for the Nineties, Personal Dispatches: Writers Confront AIDS, and Hometowns: Gay Men Write About Where They Belong. Preston's writing (which he described as pornography) was part of a movement in the 1970s and 1980s toward higher literary quality in gay erotic fiction. Preston was an outspoken advocate of the artistic and social worth of erotic writings, delivering a lecture at Harvard University entitled My Life as a Pornographer.
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In Fellmann's view epistemic justification of single actions is not sufficient to support man as a being in constant need of justification of his contingent existence. He reconstructs erotic love in terms of genetic phenomenology being the source of self-consciousness, a position that he recently sought out to underpin through socio biology.Fellmann, F. (2009) Das Paar als Quelle des Selbst. Zu den soziobiologischen Grundlagen der philosophischen Anthropologie, Deutsche Zeitschrift für Philosophie 57/5, 745-756. In his later essays, Fellmann argues that the „eccentric positionality“ of man's self-consciousness is the outcome of his exceptional sexuality, namely the constant erotic susceptibility apart from procreation.Fellmann, F. (2010) The Origin of Man Behind the Veil of Ignorance: A Psychobiological Approach. Biological Theory 5(3), 240-245.
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You will recognize among these imaginary authors variants on the names of well known poets of our day such as Heanius who dedicated a poem in his own most recent book, Human Chain, to one Gregory of Corkus another poet in The Greek Anthology, Book XVII. These poets and poems give a sense of having already existed in another tradition and another language, a kind of parallel universe of our past and present and future. It may also have allowed me to talk about things or approach things that would have been more difficult or impossible in my own direct voice, say like the political poem ‘New Ostia’, or the erotic love poems. I tried to conjure old and new ways of looking at our contemporary world.
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Plato's Symposium also includes a creation myth that explains homo- and heterosexuality (Aristophanes speech) and celebrates the pederastic tradition and erotic love between men (Pausanias speech), as does another of his dialogues, Phaedrus. The tradition of pederasty in ancient Greece (as early as 650 BC) and later the acceptance of limited homosexuality in ancient Rome infused an awareness of male-male attraction and sex into ancient poetry. In the second of Virgil's Eclogues (1st century BC), the shepherd Corydon proclaims his love for the boy Alexis. Some of the erotic poetry of Catullus in the same century is directed at other men (Carmen 48, 50, and 99), and in a wedding hymn (Carmen 61) he portrays a male concubine about to be supplanted by his master's future wife.
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Sexual Desire: A Philosophical Investigation, published as Sexual Desire: A Moral Philosophy of the Erotic in the United States, is a 1986 book about the philosophy of sex by the philosopher Roger Scruton, in which the author discusses sexual desire and erotic love, arguing against the idea that the former expresses the animal part of human nature while the latter is an expression of its rational side. The book was first published in the United Kingdom by Weidenfeld and Nicolson, and in the United States by Free Press. Scruton draws upon both analytic philosophy and phenomenology, a philosophical movement founded by Edmund Husserl. Borrowing the term from phenomenology, he argued that sexual desire is characterised by "intentionality", the quality "of pointing to, and delineating, an object of thought".
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Sesso nero (literally: "Black sex"; internationally: Sexy Erotic Love; United States DVD release: Exotic Malice) is a 1980 Italian adult drama film starring Mark Shannon, Annj Goren, Lucia Ramirez, and George Eastman, who also wrote the screenplay. It was produced, lensed and directed by Joe D'Amato. The film is most notable for being the first Italian hardcore pornographic film to be shown in Italian theatres, and one in a series of four hardcore pornographic films D'Amato shot back-to-back in the second half of 1979 in the Dominican Republic, the others being the porn/horror crossover films Erotic Nights of the Living Dead and Porno Holocaust, and the pornographic thriller Hard Sensation. Although Sesso Nero was the last one of these films to be shot, it was the first to be distributed and shown in Italian theatres.
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Effeminacy or a lack of discipline in managing one's sexual attraction to another male threatened a man's "Roman-ness" and thus might be disparaged as "Eastern" or "Greek". Fears that Greek models might "corrupt" traditional Roman social codes (the mos maiorum) seem to have prompted a vaguely documented law (Lex Scantinia) that attempted to regulate aspects of homosexual relationships between freeborn males and to protect Roman youth from older men emulating Greek customs of pederasty. Bremmer, Jan, "An Enigmatic Indo-European Rite: Paederasty", in Arethusa 13.2 (1980), p. 288. The Anglican Church of Canada comments that the Graeco-Roman "ideal" regarding homosexuality entailed erotic love of young (teenage) males of the same age that a young woman would be given in marriage, and that frequently the more mature male was only slightly older than the partner.
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Earlier scholars identified the flower she presses to her breast as orange blossom or bergamot, symbol of marriage and fidelity, and claimed the subject as Caterina Campi, wife of Caravaggio's friend Onorio Longhi. Caravaggio scholar John Gash, however, identifies the flowers as "definitely jasmine", symbol of erotic love, and therefore more suitable to a courtesan than to a respectable married woman. The portrait belonged to Caravaggio's patron, Marchese Vincenzo Giustiniani, and the 1638 inventory of the Giustiniani collection lists a "portrait of a courtesan named Fillide", identified by modern scholars as Fillide Melandroni.Gash, Caravaggio, p.53. But the commissioner was Fillide's client nobleman Giulio Strozzi to whom she bequeathed the painting in her will of October 8th 1614. In 2017, Tasmanian artist, Johannes Verhoeff, was given the task to create 2 versions of the ‘Portrait of a Courtesan’ at MONA (Museum of Old and New, Hobart Tasmania).
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Penna's economic conditions were often poor, and in his late years a group of intellectuals signed a manifesto in the newspaper to help him. His affection for young boys was reflected by the constant presence of young boys in his verses, as well as in his taking a 14-year-old streetboy from Rome, Raffaele, to the home he shared with his mother in 1956 and living with him, on and off, for fourteen years. According to Pier Paolo Pasolini, Penna's poetry was made of "an extremely delicate material of city places, with asphalt and grass, whitewashed walls of poor houses, white marbles of the bridges, and everywhere the sea's breath, the murmur of the river in which the trembling night lights reflect". His controversial erotic love poems can be found in English translation in This Strange Joy (Ohio State University Press, 1982) and Remember me, God of Love (Carcanet, 1993).
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Cocks felt that thanks to their superb performances the film had a "rigorous psychological truth and an emotional timbre" that most other films in the supernatural genre lacked. Canby considered the "sincerity of the actors" to be one of the better aspects of the film, while Kael found Christie especially suited to the part, observing she has the "anxious face of a modern tragic muse". Roeg's use of Venice was praised too, with Roger Ebert finding that he "uses Venice as well as she's ever been used in a movie", and Canby also noted Venice is used to great effect: "He gets a great performance from Venice, which is all wintery grays, blues and blacks, the color of the pigeons that are always underfoot." Variety also found much to admire about the editing, writing that it is "careful and painstaking (the classically brilliant and erotic love-making scene is merely one of several examples) and plays a vital role in setting the film's mood".
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In Scruton's view, "Plato's question" derives its force from the fact that, "Love implicates the whole being of the lover, and desires the whole being of the beloved", and Platonism involves a "misdescription of desire" that makes it impossible to understand how desire can be an expression or a form of love. He attempts to clarify the distinction between love and friendship by providing an account of the intentional structure of the latter, and discusses different kinds of friendship, concluding that "the friendship of esteem" can become love and in so doing acquire its distinguishing features, but that the development of esteem into love is not inevitable and that love may also have other origins. He maintains that erotic love has a normal course that involves the lover and the beloved developing their selves through responses to each other's desires and perceptions. He also discusses the European tradition of courtly love, and criticises the idea that romantic love did not exist before the 12th century, arguing that evidence from Japanese, Persian, and classical literature shows otherwise.
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It is widely accepted that Caravaggio painted the work in 1606 while in hiding at the estates of the Colonna family after fleeing Rome following the killing of Ranuccio Tommason, According to a legend popular in Caravaggio's time, after Christ's death his faithful female disciple Mary of Magdala moved to southern France, where she lived as a hermit in a cave at Sainte-Baume near Aix-en-Provence. There she was transported seven times a day by angels into the presence of God, "where she heard, with her bodily ears, the delightful harmonies of the celestial choirs." Earlier artists had depicted Mary ascending into the divine presence through multicoloured clouds accompanied by angels; Caravaggio made the supernatural an entirely interior experience, with the Magdalen alone against a featureless dark background, caught in a ray of intense light, her head lolling back and eyes stained with tears. This revolutionary naturalistic interpretation of the legend also allowed him to capture the ambiguous parallel between mystical and erotic love, in Mary's semi-reclining posture and bared shoulder.
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709n The 'natural piety' of children was a subject that preoccupied Wordsworth at the time and was developed by him in "Intimations", the first four stanzas of which he had completed earlier in the year but had put aside because he could not decide the origin of the presumed natural affinity with the divine in children, nor why we lose it when we emerge from childhood.Dorothy's Grasmere Journal records that Wordsworth wrote the first part of "Intimations" on the morning of 27 March 1802, a day after writing Caroline's mother, Annette Vallon, the previous morning. By 1804 he believed he had found the answer in the Platonic doctrine of the pre-existence of souls and was able to complete his ode. The fifth line in the sonnet, "The gentleness of heaven broods o'er the Sea", references the creation myth of Genesis 1:2 (compare Milton's Paradise Lost 7:235, a poem Wordsworth knew virtually by heart), and a similar use of "broods" eventually appeared in "Intimations" in stanza VIII The reference to the everlasting motion of the sea in the sonnet recalls the argument for immortality in Plato's dialogue Phaedrus (which also treats erotic love).
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She relates how the poem covers all the different types of human love – the love between parents and children, fraternal love, the love between comrades and erotic love – though the moments when love directly appears in the poem are very brief and act as counter points to the otherwise unrelenting tragedy and violence. Yet in the last few pages of her essay Weil states that the influence of love is always at work in the epic, in the ever present bitter tone that "proceeds from tenderness": "Justice and love, which have hardly any place in this study of extremes and of unjust acts of violence, nevertheless bathe the work in their light without ever becoming noticeable themselves, except as a kind of accent." At the end of her essay Weil discusses the sense of equity in which the suffering of combatants from both sides, Trojan and Greek, of whatever rank or degree of heroism, are treated in the same bitter and unscornful way. Weil says this degree of equity was never equalled in any other Western work, though to some degree it was transmitted via the Attic tragedies, especially those of Aeschylus and Sophocles, to the Gospels.
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