Erotic Fantasy , livre ebook

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2012

Écrit par
Hans-Jürgen Döpp

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256

pages

English

Ebook

2012

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Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Parkstone International

Date de parution

08 mai 2012

Nombre de lectures

EAN13

9781780429762

Langue

English

Poids de l'ouvrage

76 Mo

Numerous and diverse points of view come together in this work, demonstrating the multiple aspects that sexuality can present. If nothing is more natural than sexual desire, it is nothing less than the forms by which this desire is expressed and found to satisfy. This book invites you on a special journey, into the universe of emotion, of pleasure and desire.

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Publié par

Parkstone International

Date de parution

08 mai 2012

Nombre de lectures

EAN13

9781780429762

Langue

English

Poids de l'ouvrage

76 Mo

EROTIC FANTASY

Hans-Jürgen Döpp

Author: Hans-Jürgen Döpp Translators: Philip Jenkins, Jane Rogoyska, Dr. Jane Susanna Ennis, Susana M. Steiner

Layout: Baseline Co. Ltd. rd 127-129A Nguyen Hue, Fiditourist, 3 f loor District 1, Ho Chi Minh Cit y, Vietnam

© Conf idential Concepts, worldwide, USA © Parkstone Press International, New York, USA © Paul Avril, copyright reser ved © Hans Bellmer, Artists Rights Societ y, New York, USA/ A DAGP, Paris © Bouliar, copyright reser ved © Paul-Emile Bécat, copyright reser ved © Bergman, copyright reser ved © Louise Bourgeois, Artists Rights Societ y, New York, USA/VAGA, New York © Courbouleix, copyright reser ved © Jules Derkovits, copyright reser ved © Erler, copyright reser ved © Michel Figensten, copyright reser ved © Margit Gaal, copyright reser ved © Javier Gil, copyright reser ved © Godal, copyright reser ved © David Greiner, copyright reser ved © Hegemann, copyright reser ved © Lobel-R iche, copyright reser ved © Martin von Maele, copyright reser ved © Merenyi, copyright reser ved © De Monceau, copyright reser ved © Jean Morisot, copyright reser ved © Ornik leion, copyright reser ved © Hans Pellar, copyright reser ved © Armand Petitjean, copyright reser ved © Reunier, copyright reser ved © A ndré-Félix Robert y/Artists Rights Societ y, New York, USA/A DAGP, Paris © Otto Rudolf Schatz, copyright reser ved © Louis Berthomme de Saint-A ndré/Artists Rights Societ y, New York, USA/A DAGP, Paris © Attila Sassy, copyright reser ved © Otto Schof f, copyright reser ved © Roland Topor, Artists Rights Societ y, New York, USA/A DAGP, Paris © Troyen, copyright reser ved © Marcel Vertés, copyright reser ved © Gerda Wegener, copyright reser ved © Zéllé, copyright reser ved

ISBN: 978-1-78042-976-2

A ll rights reser ved

No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless other wise specif ied, copyright on the works reproduced lie with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. W here this is the case, we would appreciate notif ication.

Erotic Fantasy

Hans-Jürgen Döpp

Contents

Introduction

The Erotic Orient

In Praise of the Backside

FeetIshism

Sapphic Art

Objects of Desire

Sadomasochism

Ecstasy

The K iss

Priapus

The Manipulated Breasts

Notes

Index

104

116

150

174

194

222

252

254

Introduction

Love’s Body Reflections on Fragmentation of the Body

he subject of the essays in this book is not the body as a whol e, but rather its separate T parts. As we fragment the body, we make its parts the subject o f a fetish. Each individual part can become a focus of erotic passion, an obje ct of fetishist adoration. On the other

hand, the body as a whole is still the sum of its parts.

The partitioning that we carry out here brings to mind th e worship of relics. Relic worship began

in the Middle Ages with the adoration of the bones of mar tyrs and was based on the belief that the

body parts of saints possessed a special power. In this respect, e ach fetishist, however enlightened

he pretends to be, pays homage to relic worship.

At first, this dismemberment only happened to saints, in accord ance with the belief that in

paradise the body will become whole again. Only later were o ther powerful people such as bishops

and kings also carved up after their deaths. In our cultural survey of body parts, we are particularly

concerned with the history of those with “erotic signifi cance.” Regardless of whether their

significance is religious or erotic, they all attain the gr eatest importance for both the believer and

the lover because of the attraction and power inherent i n them. This way, fetishist heritage of older

cultures survives in both the believer and the lover.

O Body, how graciously you let my soul

Feel the happiness, that I myself keep secret,

And while the brave tongue shies away,

From all that there is to praise, that brings me joy,

Could you, O Body, be any more powerful,

Yes, without you nothing is complete,

Even the Spirit is not tangible, it melts away

1 Like hazy shadows or fleeting wind.

Anatomical Blazons of the Female Bodyappeared in 1536, a newly printed, multi-volume collection of

odes to each body part individually. These poems, praising parts of the female body, constituted an early

form of sexual fetishism. “Never,” wrote Hartmut Böhme, “does it sing the ‘whole body,’ let alone the

2 persona of the adored, but rather it is a rhetorical exposition of parts or elements of the body.” In these

poems, head and womb represented the “central organs.” It was to be expected that representatives of

the church scented a new form of idolatry in this poetic approach and identified a sinful indecency in

this depiction of female nakedness:

1. Margit Gaal, 1920.

Introduction

2. Anonymous, 1940.

“To sing of female organs,

To bring them to God’s ears,

Is madness and idolatry,

For which the earth will cry on Judgement day.”

This is how such condemnation is expressed in a document entit ledAgainst the Blazoners of

3 Body Parts, written in 1539 . The poets of theBlazonswere “the first fetishists in the history of

4 literature.” “TheAnatomical Blazonsrepresented a sort of a sexualmenu à la carte: from head to

toe, a series of fetishist delicacies (and in theCounterblazonsfrom head to toe a series of sensual

atrocities and defacements). Such a gastrosophy of feminine flesh is only conceivable when the

woman is not regarded as a person. The fetish of the female bo dy involves the abolition of woman

5 as such.” From this perspective, theBlazonswould be womanless.

The poetic dismemberment of the female body satisfies fetishist phallocentrism, which, as Böhme

points out, also lies at the root of male aggression. Today it would be called “sexist.”

“A woman is a conglomerate of sexual-rhetorical body parts, desire d by men: one beholds the

female body in such explicit detail that the woman herself is negated. A courtly, cultivated

6 dismemberment of a woman is celebrated in the service of male fantasy.” Is the female body thus

reduced to a plaything of lust?

Böhme’s analysis echoes much of contemporary feminist critique: The corporeal should be given

homage only when it is united with personality, as if the bo dy itself was something inferior.

What Böhme refers to as “phallocentrism,” can be observed even in the context of advanced

cultures: the progress of civilisation has been accompanied by an ever-increasing alienation of the body

– this process is repeated in each stage of history.

The lustful preoccupation with the body is the primary int erest of a child. Children are able to

experience desire in the activity of their whole body to a much greater degree than adults. In adults,

this original, all-consuming childhood desire is focused in one small area – the genitals. This is how

Norman O. Brown describes erotic desire inThe Resurrection of the Body: “Our displaced desires

point not to desire in general, but specifically to the desire for the satisfaction of life in our own

8 body.” All morals are bodily morals. Our indestructible Unconscious w ishes to return to childhood.

This childhood fixation is rooted in the yearning for the pleasure principle, for the rediscovery of

the body, which has been estranged from us by the culture. “The eternal child in us is actually

9 disappointed in the sexual act, and specifically in the tyrann y of the genital phase.” It is a deeply

narcissistic yearning that is expressed in the theory of Norman O . Brown. For him, psychoanalysis

promises nothing less than the healing of the breech betwe en body and spirit: the transformation

10 of the man’s “I” into the bodily “I” and the resurrection of the body.

This dichotomy between body and spirit defines our culture . Dietmar Kamper and Christoph

Wulf discuss this in their study of the destiny of the body throughout history and conclude that

“…the historical progress of European imprinting since the M iddle Ages was made possible by the

distinctively Western separation of body and spirit, and then fulfilled itself as ‘spiritualisation’ of -

11 life, as rationalising, as the devaluation of human body, that i s, as dematerialisation.”

In the course of progress, the alienation of the body evolved into a hostile estrangement. The body

with its variety of senses, passions, and desires was clamped into a rigid framework of commandments

Introduction

th 3.Intense Pleasure, 19 century Photograph.

10.

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