Audre Lorde’s account of the erotic is one of her most widely celebrated contributions to political theory and feminist activism, but her explanation of the term in her brief essay “Uses of the Erotic” is famously oblique and ambiguous. This article develops a detailed, textually grounded interpretation of Lorde’s erotic, based on an analysis of how Lorde’s essay brings together commitments expressed across her work. I describe four integral elements of Lorde’s erotic: feeling, knowledge, power, and (...) concerted action. The erotic is a way of feeling in the work a person does, which makes possible new knowledge about the self and the social environment— particularly to counteract epistemic oppression imposed by an unjust society. The erotic is a source of power by providing vision and energy for actions integrating a person’s multiple commitments and political interests. It facilitates concerted action and coalition by enhancing a person’s appreciation of their interests and values, while fostering embodied, personal connections that build trust on the basis of shared vulnerability. Thus, the erotic helps build coalitions where genuine differences of perspective and experience can be examined, in resistance against an oppressive society’s epistemic distortions. (shrink)

Anselm’s 'Proslogion' is, as he says in its Preface, 'unum argumentum', a single line of reasoning, that builds toward the following: “that God is truly,” “that he is the highest good who needs no other,” and that he is the one “whom all things need so that they may be and may be well.” This paper attempts to shed light on how Anselm carries out the threefold task that he sets for himself and way in which his procedure brings unity (...) to the work. Although I do not provide a full account of the unity of the 'Proslogion', I lay the groundwork for such an account by reflecting on the 'Proslogion' in light of the 'Symposium', with a view to bringing a pattern of thinking present in Plato’s work to bear on the 'Proslogion'—an intertextual approach that illuminates aspects of Anselm’s thinking and reveal the rich Platonic and Neoplatonic tradition within which he was working. In the 'Symposium', one discerns a pattern of thinking that consists of three “moments”: a comic moment, a tragic moment, and a philosophic moment. To follow this pattern in one’s inquiry is, as Socrates suggests, to practice 'ta erôtica', “erotics,” the art of erotic thinking. Familiarity with this pattern of erotic thinking helps make sense of Anselm’s thinking in the 'Proslogion', and in this paper I reveal how this is so. (shrink)

Discussions of sexual ethics often focus on the wrong of treating another as a mere object instead of as a person worthy of respect. On this view, the task of sexual ethics becomes putting the other’s subjectivity above their status as erotic object so as to avoid the harms of objectification. Ward and Anderson argue that such a view disregards the crucial, moral role that erotic objecthood plays in sexual encounters. Important moral features of intimacy are disclosed through (...) the experience of being an erotic object for another, as well as in perceiving another as an erotic object. Drawing on phenomenology, especially the insights of Simone de Beauvoir, Ward and Anderson argue that erotic encounters are shaped by the human condition of ambiguity, where being an object for others is intertwined with bodily agency. Because sexual agency is complex in this way, theories of sexual ethics and responsibility must widen their focus beyond transparent communication and authoritative expressions of will. (shrink)

Socrates engages his audience in Phaedrus with speeches that include revised or newly composed myths that express his theory of philosophical eros. The aim of the speeches is to generate a love for truth that spills over into dialogue. Speeches are a starting point for dialogue, just like physical attraction is the beginning of love. In the case of Phaedrus, the beginning of philosophy is portrayed using playful and rhetorically rich speeches that serve as "love potions" awakening the novice's soul, (...) and ultimately leading Phaedrus to higher rungs on the ladder of love through the palinode, a medicinal speech. It is thinking about speeches, not the speeches themselves, which moves Socrates' student Phaedrus from the love of speeches to the love of Beauty itself. This is a stark contrast to the purpose of speechmaking for the sophist. The sophist seeks to enchant the soul, while the philosopher seeks to charm the soul into loving wisdom through stimulating discussions. Socrates also uses role reversals in the lover-beloved relationship to model the soul's ascent, contrasting the traditional roles with the way the lover and beloved are presented in Socrates' speeches. The novice must actively recollect Beauty itself in order to ascend, rather than passively listening to speeches that provide an image of beauty. Socrates' interlocutors must move themselves up the ladder of love from their own philosophical eros; wisdom is not attained by merely being pushed all the way up the ladder of love. (shrink)

This essay interprets the epoché of ancient scepticism as the perpetual conversion of the love of one into the love of two. The process of one becoming two is represented in Plato’s Symposium by Diotima’s description of the second rung of ‘the ladder,’ by which one ascends to the highest form of philosophical devotion (Pl. Sym. 209e-210e). Diotima’s ladder offers a vision of philosophy as a total conversion of both the lover and the object of love (or philosopher and object (...) of knowledge). I suggest that scepticism, however, is found in the frustration of Platonic ascension, which results in a partial conversion. Because the process of conversion (from the love of one to the love of One) remains suspended midway, the sceptic’s transformation is erotic—this is to say, driven by a desire that is characterised by a split (which may be identified between subject and object, between incompatible objects of desire or knowledge, or within the subject herself). (shrink)

Apuleius’s The Golden Ass presents curiosity as the protagonist’s downfall, yet ultimately recodes curiosity as the single virtue through which the human soul achieves not only immortality but joy. I identify Apuleius’s treatment of curiosity as falling into the categories of erotic and nonerotic. The union of Eros and the curious human soul suggests that one who is erotically curious can take pleasure in her devotion to one, precisely because she has eyes for the beauty of many.

How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function (...) of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege. (shrink)

This article argues that through her songs and music videos Pagan Poetry, Cocoon and Hidden Place, versatile artist Björk is able to carve out a space for erotic tenderness. This erotic tenderness will be unearthed as a queer or minor sexuality, in the sense that it goes against a phallic and genital majoritarian account of sexuality. Tender sexuality might not be obviously queer, yet a detour through the early work of Freud will show how our hegemonic account of (...) sexuality is built upon a repression of such a tender sexuality. Freud’s psychoanalysis is only able to regard this sexual tenderness in a negative vein as a pathological symptom. Supported primarily by the works of Deleuze, Guattari and Muñoz, this article will propose that Björk’s artistry is able to produce a line of flight outside of this tender-less sexuality, liberating an otherwise repressed minor tender sexuality through a visually and sonically becoming-woman, becoming-child, becoming-BwO and becoming-molecular. (shrink)

In this article I propose an erotic theosis as a fruitful possibility for conceptualising our final participation in union with God in the beatific vision and for imaging said participation on earth. Particularly, I propose a synthesis of recent work from Oliver Crisp on theosis with that of Sarah Coakley on sexual desire as an especially helpful way in which to conceive of our ever-deepening participation in God's love. Further, this synthesis uses contributions from Erin Dufault-Hunter on the intersections (...) of sexual desire and ethics as a catalyst for its recommendations. (shrink)

Else Voigtländer (1882–1946) provided one of the first substantial contributions to the phenomenology of the emotions. Her writings, which unfortunately have remained mostly unexplored, anticipate many of the issues that would become major focal points for later phenomenologists working on the topic. Within the phenomenological movement, Voigtländer was one of the first to study phenomena such as Ressentiment, inauthentic feelings and erotic love. In her book Vom Selbstgefühl (On the Feeling of Self-Worth) (1910), she undertakes an exhaustive study of (...) the feelings of self-worth as part of a more ambitious project of elaborating a study of character. Further discussions on feelings, emotions and their relation to values can be found in a series of papers devoted to character traits, political emotions, erotic love and the psychology of sentiments (Voigtländer 1920, 1923, 1928 and 1933). This chapter is divided into four sections. The first presents Voigtländer’s notion of feelings of self-worth (Selbstgefühle). The remaining sections are devoted to her analyses of inauthentic feelings, Ressentiment and other negative attitudes, and erotic love, respectively. (shrink)

Richard Schusterman’s book, Ars erotica: sex and somaesthetics in the classical arts of love (Schusterman, 2021) is a path-finding, innovative contribution that breaks the silence around the long-held body-shying academic deprivation to erotic ideas with its free-flowing comprehensive discussion on carnal desire and erotic thoughts. Schusterman provides a panoramic yet vibrantly profound analysis of the aesthetic inclusion into erotic love following the culture of Asian and Western thoughts from the ancient era to the Renaissance. The book’s scope (...) shows the author’s deep inclusive com-mendable research into erotic study. Schusterman is renowned for his original approach to defining popular art and philosophy as an embodied art of living. He is also famous for his trailblazing concept of somaesthetics, rooted in pragmatist aesthetics, with Ars erotica being a fruitful product of his expertise in both. (shrink)

A crux of Plato’s Symposium is how beauty relates to the good. Diotima distinguishes beauty from the good, I show, to explain how erotic pursuits are characteristically ambivalent and opaque. Human beings pursue beauty without knowing why or thinking it good; yet they are rational, if aiming at happiness. Central to this reconstruction is a passage widely taken to show that beauty either coincides with the good or demands disinterested admiration. It shows rather that what one loves as beautiful (...) does not appear good, a proposal with ramifications for ethical psychology. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both (...) erotic art and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly (...) touched upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

“Erotism and Censorship“ offers an introduction to the history of picture postcards and explores the German censorship until 1930. The specificity of the medium to react to the desires of the clients (mostly male) and to shape them simultaneously is explained in interpretations of examples. A documentary part presents a selection of texts about reproduction technologies. These texts were originally published in journals for collectors of postcards.

Throughout her work, Audre Lorde maintains that her self-preservation in the face of oppression depends on acting from the recognition and valorization of her feelings as a deep source of knowledge. This claim, taken as a portrayal of agency, poses challenges to standard positions in ethics, epistemology, and moral psychology. This article examines the oppositional agency articulated by Lorde’s thought, locating feeling, poetry, and the power she calls “the erotic” within her avowed project of self-preservation. It then explores the (...) implications of taking seriously Lorde’s account, particularly for theorists examining ethics and epistemology under nonideal social conditions. For situations of sexual intimacy, for example, Lorde’s account unsettles prevailing assumptions about the role of consent in responsibility between sexual partners. I argue that obligations to solicit consent and respect refusal are not sufficient to acknowledge the value of agency in intimate encounters when agency is oppositional in the way Lorde describes. (shrink)

In this article, Bettcher argues that sexual attraction must be reconceptualized in light of transgender experience. In particular, Bettcher defends the theory of “erotic structuralism,” which replaces an exclusively other-directed account of gendered attraction with one that includes a gendered eroticization of self as an essential component. This erotic experience of self is necessary for other-directed gendered desire, where the two are bound together and mutually informing. One consequence of the theory is that the controversial notion of “autogynephilia” (...) is rejected. Another consequence is that the distinction between gender identity and sexual orientation is softened. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

What makes it possible to affect one another, to move and be moved by another person? Why do some of our encounters transform us? The experience of moving one another points to the inter-affective in intersubjectivity. Inter-affection is hard to account for under a cognitivist banner, and has not received much attention in embodied work on intersubjectivity. I propose that understanding inter-affection needs a combination of insights into self-affection, embodiment, and interaction processes. I start from Michel Henry's radically immanent idea (...) of self-affection, and bring it into a contrastive dialogue with the enactive concepts of autonomy and (participatory) sense-making. I suggest that the latter ideas can open up Henry's idea of self-affection to inter-affection (something he aimed to do, but did not quite manage) and that, in turn, Henry's work can provide insights into underexplored elements of intersubjectivity, such as its ineffable and mysterious aspects, and erotic encounters. (shrink)

This commentary records, through notes taken by Hermias, Syrianus' seminar on Plato's Phaedrus, one of the world's most influential celebrations of erotic beauty and love. It is the only Neoplatonic commentary on Plato's Phaedrus to have survived in its entirety. Further interest comes from the recorded interventions by Syrianus' pupils - including those by Proclus, his eventual successor as head of the Athenian school, who went on to teach Hermias' father, Ammonius. The second of two volumes of Hermias' commentary, (...) the chapters translated here begin with a discussion of how the discarnate soul is visualised as a winged chariot team whose charioteer may gain some glimpse of beauty itself, which can explain subsequent erotic longing. This volume provides a translation is accompanied by explanatory notes, an introduction detailing the significance and context of the treatise and a scholarly apparatus including multiple indexes, glossaries and a bibliography. (shrink)

Είναι ο έρωτας μία απόπειρα υπέρβασης της πρωταρχικής ρήξης ή μία απόπειρα υπέρβασης του Εγώ; Δηλαδή είναι μία ορμή επανασύνδεσης ή μία ορμή διάλυσης; Κεντρομόλος ή φυγόκεντρος; Κάθε προσπάθεια ορισμού μας παραπέμπει στο πρόβλημα ενός ερωτικού καθολικού, το οποίο δεν μπορεί να αναχθεί στην βιολογική γενετήσια ορμή, ούτε όμως μπορεί να διαχωριστεί από τις επιμέρους και συγκεκριμένες εξατομικεύεις του ερωτικού φαινομένου. -/- Θέλουμε να αναζητήσουμε το νόημα του έρωτα στην σημασία του άλλου εντός της διυποκειμενικότητας και να κατανοήσουμε την αποβλεπτικότητα (...) που στρέφεται προς το άλλο. Να αναψηλαφήσουμε τις κοινωνικο-ιστορικές και φιλοσοφικές μεταμορφώσεις του έρωτα και το συσχετισμό του με την αυτονομία. Να διαυγάσουμε το νόημα του χρόνου του Άλλου εντός και διά του υποκειμένου, που υπερβαίνει τον ατομικό χρόνο, μα δεν είναι δημόσιος, και θα ονομάσουμε ερωτικό χρόνο. (shrink)

When explaining human actions, people usually focus on a small subset of potential causes. What leads us to prefer certain explanations for valenced actions over others? The present studies indicate that our moral attitudes often predict our explanatory preferences far better than our beliefs about how causally sensitive actions are to features of the actor's environment. Study 1 found that high-prejudice participants were much more likely to endorse non-agential explanations of an erotic same-sex encounter, such as that one of (...) the men endured a stressful event earlier that day. Study 2 manipulated participants' beliefs about how the agent's behavior depended on features of his environment, finding that such beliefs played no clear role in modeling participants' explanatory preferences. This result emerged both with low- and high-prejudice, US and Indian participants, suggesting that these findings probably reflect a species-typical feature of human psychology. Study 3 found that moral attitudes also predicted explanations for a woman's decision to abort her pregnancy (3a) and a person's decision to convert to Islam (3b). Study 4 found that luck in an action's etiology tends to undermine perceptions of blame more readily than perceptions of praise. Finally, Study 5 found that when explaining support for a rival ideology, both Liberals and Conservatives downplay agential causes while emphasizing environmental ones. Taken together, these studies indicate that our explanatory preferences often reflect a powerful tendency to represent agents as possessing virtuous true selves. Consequently, situation-focused explanations often appear salient because people resist attributing negatively valenced actions to the true self. There is a person/situation distinction, but it is normative. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

It appears that spouses have less reason to hold each other to a norm of monogamy than to reject the norm. The norm of monogamy involves a restriction of spouses' aeeess to two things of value: sex and erotic love. This restriction initially appears unwarranted but can be justified. There is reason for spouses to aeeept the norm of monogamy if their marriage satisfies three conditions. Otherwise, there is reason to permit non-monogamy. Some spouses have reason to accept the (...) norm of monogamy because this will avoid reasonable hurt and prevent diversion of resourees needed to sustain the marriage. Other spouses have reason to permit non-monogamy to allow the spouses access to aspects of a well-rounded life. The choice to be either monogamous or non-monogamous ean also be non-instrumentally valuable if chosen for the right reasons. (shrink)

The standard liberal sexual ethic maintains that consent is the only requirement for ethical sexual relations. While consent is certainly necessary for an adequate sexual ethic (and it’s important to know what it involves), I argue that it’s far from sufficient. The key claims that I advance are the following: (1) The consent-only model of sexual ethics affirms a “casual” view of sex and therefore it can’t make sense of and properly combat what’s worst in the sexual domain: namely, the (...) grave evil of sexual violence. (2) The consent-only model of sexual ethics fails properly to recognize the special significance of human sexuality and the nature of erotic love and its role in human sexual fulfillment and therefore it can’t make sense of and properly support what’s best in the sexual domain: namely, a committed erotic loving relationship. A more adequate sexual ethic, I maintain, would be a more traditionalist one that involves the following: it would give proper recognition to the special significance of human sexuality, avoid dehumanization in sexual desire, and encourage and support committed erotic love and its role in human fulfillment. Moreover, it would regard this as requiring that we cultivate sexual virtues such as chastity, modesty, and fidelity, and that we encourage and support life-long monogamous marriage as the proper context for human sexual relationship. (shrink)

Man essentially is a being who pursues meaning and love. Socrates’ speech in the Symposium well characterizes man as driven by Eros, or Love. Socrates, expounding Diotema’s Ladder of Love, explains that man is driven by the erotic impulse. Nowhere in her teachings does Diotema mention the concept of self-interest or maximizing profit as the essential nature of man. Despite this, the concept of man as the rational economic man dominates the human stage of thought. Why and how has (...) this concept of man taken precedence over the Platonic description? What has made for the triumph of Homo economicus? (shrink)

I show that in Epictetus’ view (1) the wise man genuinely loves (στέργειv) and is affectionate (φιλόστoργoς) to his family and friends; (2) only the Stoic wise man is, properly speaking, capable of loving—that is, he alone actually has the power to love; and (3) the Stoic wise man loves in a robustly rational way which excludes passionate, sexual, ‘erotic’ love (’έρως). In condemning all ’έρως as objectionable πάθoς Epictetus stands with Cicero and with the other Roman Stoics, Seneca (...) and Musonius Rufus, and against the Greeks of the early Stoa. Epictetus’ conception of love excludes erotic passion because of its intrinsic excessiveness and uncontrollableness, which inevitably endanger mental serenity, but includes and emphasizes the soberly rational, purely positive joy of interpersonal affiliation. Epictetus’ account of how the Stoic Sage loves is, I think, more consistent and less problematic than that of the Greek Stoics. (shrink)

In this paper, I offer a new interpretation of Aristophanes’ speech in Plato’s Symposium. Though Plato deliberately draws attention to the significance of Aristophanes’ speech in relation to Diotima’s (205d-206a, 211d), it has received relatively little philosophical attention. Critics who discuss it typically treat it as a comic fable, of little philosophical merit (e.g. Guthrie 1975, Rowe 1998), or uncover in it an appealing and even romantic treatment of love that emphasizes the significance of human individuals as love-objects to be (...) valued for their own sakes (e.g. Dover 1966, Nussbaum 1986). Against the first set of interpreters, I maintain that Aristophanes’ speech is of the utmost philosophical significance to the dialogue; in it, he sets forth a view of eros as a state of lack and a corresponding desire for completion, which is the starting-point for Diotima’s subsequent analysis. Against the second, I argue that Aristophanes’ speech contains a profoundly pessimistic account of eros. Far from being an appreciative response to the individuality of the beloved, eros, for Aristophanes, is an irrational urge, incapable of satisfaction. It is this irrationality that precludes Aristophanes’ lovers from achieving the partial satisfaction of erotic desire that is open to their Socratic counterparts through their relationship to the forms. (shrink)

In the philosophical works of Emmanuel Levinasʼs early career, it is in a phenomenology of Eros that he claims to have uncovered the site of what he calls ʻtranscendenceʼ. This is no small claim. According to the argument of the later Totality and Infinity (1961), the history of Western philosophy is to be thought as the history of the ʻphilosophy of the sameʼ. Within this polemical generalization almost the whole of Western philosophy is characterized as a totalizing discourse which aims (...) to reduce everything to the categories of a thematizing consciousness. Conceptual structures are employed (or presupposed) in order to make diverse phenomena commensurable within a system, and according to Levinas this operation always constitutes a reduction of what is ʻotherʼ to the order of the ʻsameʼ. In agreement with a certain transcendentalism which is itself implicated in Levinasʼs critique, these structures of thought are then equated with consciousness itself; the thematizing project is one of mastery in which noemata will of necessity conform to noesis, in which the object is constituted for and by the subject. The experience of transcendence, so rare in this version of philosophyʼs history, is the experience of whatever is and truly remains other than me, recalcitrant to mastery through conceptualization and to the transcendental project of the subject to construe everything as originating from within itself. If, then, it is first of all in the erotic relation that the possibility of the experience of transcendence is said to arise, Eros can in no sense be dismissed as an unimportant or peripheral theme for Levinas, and a full investigation is warranted, especially given the current interest in Levinasʼs work, interest which is not limited to the discipline of philosophy. Furthermore, as the notion of Eros is closely associated, textually and conceptually, with what Levinas calls ʻthe feminineʼ, critical attention has been excited amongst feminist scholars of various persuasions, with claims – both positive and negative – being made for Levinasʼs significance as a resource for feminist philosophy and feminist politics. If assertions of a ʻLevinasianʼ feminism, no matter how qualified, tend to rest on the idea that Levinasʼs phenomenology of Eros, and analyses of ʻthe feminineʼ mark a break in or a new departure from a ʻmasculinistʼ tradition, this article seeks, in part, to argue to the contrary. (shrink)

In this paper I investigate the understanding of eros expressed in the speeches of Phaedrus and Agathon in Plato’s Symposium, two speeches often neglected in the literature. I argue that they contain crucial insights about the nature of eros that reappear in Diotima’s speech. Finally, I consider the relation of Socrates and Alcibiades in light of these insights, arguing that the figure of Alcibiades should be seen as a negative illustration of the notion of erotic education described by Diotima.

This paper investigates the recurrent music ban on musical video broadcasting and the issues of quality of musical contents that have warranted such a phenomenon by the National Broadcasting Commission in Nigeria. The major contention was the justification or otherwise of the ban. The paper employed observational and analytical methodologies to examine the causes of the bans on musical videos in Nigeria by NBC, the reactions of the affected artistes and their fans and the negative effects of erotic lyrics, (...) nudity and suggestive dance steps by minors, ladydancers and the musicians on the youths and other categories of musical video audiences. The paper submits that the NBC’s gestures are commendable and should be sustained while quality assurance efforts should be intensified through promotion of quality musical videos produced more for the purpose of entertainment than education or information. The paper also calls for collaborative efforts among all stakeholders in the music industry to achieve quality in the musical videos produced for general public consumption. This paper encourages musicians to invite creativity into the musical industry in Nigeria by coming out with songs and performances that reflect the cultural values of the country rather than mere entertainment songs and acts that have a greater tendency to corrupt younger minds. (shrink)

This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.

This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of (...) viewer consent, but this itself comes at the expense of the reality of bodies depicted, that are pushed to (and beyond) their limits. The chapter examines the moral and philosophical implications of desires that place the body in extreme states of sexualized deconstruction - both real and faked – and how these apply to images and communities in cyberspace. (shrink)

Recent students of mysticism have sharply distinguished monistic from theistic mysticism. The former is more or less identified with the empty consciousness experience and the latter with the love mysticism of such figures as Bernard of Clairvaux. I argue that a sharp distinction between the two is unwarranted. Western medieval mystics, for example, combined the apophatic theology of Dionysius the Areopagite with the erotic imagery of the mystical marriage. Their experiences were clearly theistic but integrally incorporated ”monistic moments’. I (...) conclude by discussing Nelson Pike’s claim that these monistic moments were themselves phenomenologically theistic. (shrink)

How would you feel about your husband, wife, or partner masturbating using pornography or erotica? For many, this would be a betrayal – a kind of cheating. I explore whether monogamous relationships should forbid solo masturbation using erotica and pornography, considering two possible objections: (1) the objection that such activity is a kind of infidelity; (2) the objection that such activity involves attitudes, usually attitudes towards women that are incompatible with an equal, loving relationship. I argue that the use of (...) erotic material in solo masturbation should not count as cheating. Solo use of pornography differs significantly from interpersonal sexual activity. Thus, unlike causal interpersonal sex, it does not undermine the role of sex within the relationship. Additionally, freedom to explore sexual fantasy through masturbation is an important element of sexual autonomy. Objection (2) holds against some but not all erotic material. Sexual enjoyment of pornography that depicts, or is produced by, suffering or degradation involves a way of seeing others that has implications for the user’s relationships with others, particularly sexual relationships. However, not all erotic material involves objectionable attitudes towards others. Thus partners should allow moderate use of some types of erotica in solo-masturbation. (shrink)

On ground shared by environmental hermeneutics, critical social theory, and environmentally minded feminism, this article attempts to conciliate between the nearly antithetical ethical viewpoints of environmental philosophers David Abram and Steven Vogel. It will demonstrate first that Abram’s linguistic arguments for extending ethical considerability to nonhuman nature succumb to two of Vogel’s debilitating critiques, which it labels the social constructivist critique and the discourse ethics critique, and secondly that Abram fails to guard against the problem of human-human oppression. The article (...) also points out, on the other hand, that while Vogel evades the problem of human-human oppression, his view fails to protect against the problem of dangerous anthropocentrism. Operating within the boundaries that Vogel establishes, it will seek to avoid the pitfalls of Abram’s view, to address the underlying ideology that leads to both types of oppression, and to eliminate the problem of dangerous anthropocentrism. To do so it draws upon the arguments of Trish Glazebrook, contending that Abram’s appeals to the “speech” of nature can be more effectively conceptualized as erotic appeals, and that engaging in this call-and-response eros promotes the development of virtues that undermine our current ideology and extend to both the human and the nonhuman. (shrink)

Plato’s Phaedrus is a dialogue of journeys, a tale of transitions. It begins with Socrates’ question, ‘Where to and from whence, my dear Phaedrus?’ and concludes with the Socrates’ decision, ‘Let’s go’ (sc. back into the city from whence they’ve come). In the speech that forms its centre-piece Socrates narrates another famous journey—the descent of the soul into the body and its reascent to the realm of Forms through erotic madness. It is not too implausible to suppose that Plato (...) himself saw fit to relate his powerful images of the human soul’s fall and re-ascent by dramatic means that highlight the movement from one place to another. This explains how Hermias of Alexandria -- author of the longest sustained work on the Phaedrus to survive from antiquity related the physical journey to the Ilissus to the soul's descent and ascent. This seemingly implausible allegorising gains a certain kind of sense when we consider that the Neoplatonic commentary tradition formed part of a philosophic way of life with an ethical telos. (shrink)

The paper aims at connecting the concepts of beauty and possession, traditionally coupled with the male gaze, with eros as felt by women, by homosexuals, and by those who do not identify with a defined gender. First, I will outline the concepts of beauty and possession according to “male thinking”, well formulated by Freud, Plato, Levinas, and Sartre. I will show that, in Western tradition, beauty is seen from a masculine perspective, as a set of charms arousing the subject and (...) stimulating his will to possess. The erotic relationship is consequently considered in a dualistic way: the subject is masculine and active, and desires his “object”, who can be either a man or a woman. However, the mentioned authors also highlight a crucial point: desire is doomed to be unfulfilled, because the transcendence of the other person is ungraspable. I will argue that, despite the latter point, such authors bring forward a reductionist view of eros and relationships between genders. I will suggest a solution to this reductionism, taking inspiration from the concepts of gender performativity, theorized by Butler, and queer orientation, developed by Ahmed. I will also propose to rely on Merleau-Ponty’s idea of the flesh, especially as it concerns its features of reversibility and divergence, in order to give account of every gender identity, including non-binary ones. The concepts of beauty and possession, together with the impossibility to grasp the transcendence of the other person, will not be rejected, but reconfigured through a different way of conceiving subjectivity. (shrink)

Mettre en rapport des textes de Hegel sur l’amour érotique avec quelques passages du penseur romantique Friedrich Schlegel permet de mettre en relief la méfiance hégélienne à l’égard du désir sexuel. Selon l’échelle hiérarchique de désirs chez Hegel, le désir érotique fait preuve d’un déséquilibre entre le sujet désirant et l’objet désiré, ce qui est typique d’un rapport purement naturel et non spirituel. C’est dire que la connaissance charnelle, avec son objet dénué de Soi propre, représente pour Hegel une forme (...) inférieure de savoir. L’inégalité sujet-objet propre à l’amour érotique n’est dépassée que par la participation à la substance éthique, ce qui exige la reconnaissance réciproque de consciences de soi égales. Dans ce contexte, il s’agit du mariage. Juxtaposing some of Hegel’s texts on erotic love with certain passages from the romantic thinker Friedrich Schlegel throws light on Hegel’s problematic relationship with sexual desire. According to his hierarchy of types of desire, erotic desire betrays an imbalance between the desiring subject and the object of desire, typical of a purely natural, non-spiritual relation. This means that carnal knowledge, with its self-less object, represents an inferior form of knowing. The inequality between subject and object, inherent in erotic love, is only surpassed through participation in the ethical substance, requiring the reciprocal recognition of equal self-consciousnesses. In the present context, this means marriage. (shrink)

In Three Essays on the Theory of Sexuality, Freud rejects the notion of a biologically determined connection of instinct to object, a position which helps him avoid the designation of all variations from heterosexuality as either “degenerate” or “pathological.” However, the gender roles and relations commonly attributed to heterosexuality are already implicit in his understanding of sexual instinct and aim. Consequently, even variations from the normal sexual object and aim exemplify, on his interpretation, the clichéd hierarchical opposition of femininity and (...) masculinity. Freud’s theory of sexuality thus implies that the erotic bond is inevitably one of domination, and that the only possible human relation is one of subject to object, activity to passivity, whole to part, and owner to property. My primary intention in this paper is to explore, in Freud’s analysis of fetishism, traces of an alternate possibility to oppositional hierarchical gender roles and the negative forms of social relation that rely upon them. While Freud---in keeping with common opinion---characterizes sexual fetishism as a distinctly masculine phenomenon, the text also supports a more interesting interpretation: that the non-pathological fetishist evades the construction of gender in terms of sexual roles and that, consequently, fetishism can serve as a critique of Freud’s masculine model of sexual instinct and relation. (shrink)

This paper attempts to demonstrate that in Emmanuel Levinas’ thinking, justice is the necessary opening – and dissolution- of the “I” which makes fecundity – procreation – possible, and that in that same measure makes possible that the Logos transforms into a “desire to say” and the world into a “among us”. At the same time it wants to demonstrate that this notion of justice is directly related to the ideas of expression and nudity. Due to which the “Other” imposes (...) itself in front of the “same” , as man, singular and vulnerable, and that in the same measure it is linked to the notion of the Face and its particular mode of manifestation. In this respect, we propose that justice. As long as necessary condition, can fund an ethically constituted world, where an “erotic order” mandates over logic orderings. (shrink)

In a single aphorism in The Gay Science, Nietzsche arrays “The Problem of the Artist” in a reticulated constellation. Addressing every member of the excluded grouping of disenfranchised “others,” Nietzsche turns to the destitution of a god of love keyed to the selfturning absorption of the human heart. His ultimate and irrecusably tragic project to restore the innocence of becoming requires the affirmation of the problem of suffering as the task of learning how to love. Nietzsche sees the eros of (...) art as what can teach us how to make things beautiful, desirable, lovable in the routine truth of reality: “When they are not.” The stumbling block for those of us paralyzed by impotence and frozen in a technological age of anxiety, longing for being not becoming (eternal youth), is that one can never possess but can only win great health, again and again (like erotic desire), because one gives it away again and again as sacrifice or affirmation without reserve: that is to say, with erotic artistry. (shrink)

For among most contemporaries, the concept of Eros seems to have nothing to do with Christianity. Sifting through the psychoanalysis of sexual fantasy, theologically it says nothing. Our study gives reasons showing that for theologians since the dawn of the Christian era, Eros-love plays a fundamental role.. The connotations of this concept, however, are different from those of today, when its sensory meaning is more restricted to sexuality. Greek theologians of the first centuries after Christ, taught the concept of Plato (...) enshrined as a unifying enthusiasm, the attraction of inferior to superior states, as “hungry and thirsty” for something continuously higher, developing, and enriching the connotation. The work of Dionysius Areopagite, the Idea of Good, leads us step by step up the ascent of the erotically chaste, and is identified with the One-God, who is the very source of love. Consequently, Eros-love originates from God, Eros- love being not only an ascending but firstly a descending love, which calls for a reciprocal communion. (shrink)

In this paper we look at two kinds of relations that give rise to reasons for action of a distinctive sort: friendship and erotic love. We argue that what is common to these different relations of affection is that the people in them exhibit dispositions toward mutual direction by one another and interpretation of one another (in a sense that we describe in detail below). This mutual responsiveness is, in part, a matter of responding to reasons that arise from (...) the relation of love or friendship. These reasons are frequently distinct from – and may be opposed to – normative reasons arising from prudence or even morality. Yet reasons of love are normative: they too may obligate us. They may make demands on us that conflict with our present desires and require considerable sacrifice. (shrink)

A religious and philosophical treatise called Works of love was written by Kierkegaard in 1847 under Kierkegaard’s name. It’s a Christian book and not pseudonomical writing like his early writings. R. Gregor Smith notes that Kierkegaard’s study of love reaches to the heart of Christian thought. Indeed, it discusses the matter of Love in his different senses: self-love, love for the neighbour and love for God. So, it focuses on the relation between the self and the others. In Works of (...) Love, he sets up a contrast between the natural loves like erotic love (Elskov) and friendship (Venskab) on one hand, and the love for God and neighbour on the other hand. There is an evident tension between the different attitudes that Kierkegaard expresses in that writing with regard to preferential love. That why, perhaps, a great critics Løgstrup judges Works of Love to be “a brilliantly thought out system of safeguards against being forced into a close relationship with other people1”. In this article, I offer a brief account of some Kierkegaard’s key concerns about love: its’s preferential love and its being a form of self-love. I will discuss the means of preferential love which presents romantic love and friendship. This is, according to Kierkegaard, a real form of selfishness. Christian love is expressed in the Divine Commandment: “You shall love your neighbour as yourself” as Matthew said (22:39), so Kierkegaard shows that “Christian love teaches us to love all people, unconditionally all” (1995, 49). That words “shall” is the “very mark of Christian love” because that love is the duty to love neighbour, any neighbour as one loves oneself. Why does Kierkegaard separate two kinds of love? Is it so different? Preferential love is excluded from the category of neighbourly love because it is understood by the poet. That is to say that preferential love is only showing by the poet way. Therefore, erotic love and friendship aren’t dismissed altogether but only as long as they are understood in the pagan way, or more clearly as a poet manner. (shrink)

This book presents a phenomenological and hermeneutical research, where the body is taken both as fundamental ontological situation of human, as well as a language phenomenon, appearing in the dialectical tension between two Greeks notions – soma and sarx. The first of them is a becoming, hypostasizing entity, which in Aristotelian terms can be called dynamis (potentiality), while the second one, since it is a hypostasis, can be called energia (actuality). So the difference between them, using Heidegger’s terms, can be (...) seen as ontological one. One of the hypotheses of the research is that such a specifically divided body is a ground of mystical experience. Though as the examples provided here were mysticisms by Gregory Palamas and Meister Eckhart, they were interpreted as spectacular particularities of the broader, not only religious, phenomenon of mysticism. The latter is redefined here as a relation (including erotic one), based on meeting and co-action of two or more bodies etc. -/- This book is a phenomenological and hermeneutical research, where the body is presented both as fundamental ontological situation of human, as well as a language phenomenon, appearing in the dialectical tension between two Greeks notions – soma (the body) and sarx (flesh). The first of them is a becoming, hypostasizing entity, which in Aristotelian terminology can be called dynamis (potentiality), while the second one, since it is a hypostasis, can be called energia (actuality). Though the difference between them, using Heidegger’s terminology, can be presented as ontological. For one of the hypotheses of the research is that such a specifically divided body is a ground of mystical experience. Though as examples taken here were mysticisms by St Gregory Palamas and Meister Eckhart, they understood here as radical, but spectacular particularities of the broader (and essential for such a body) phenomenon of mysticism, which is redefined in this book as not only religious relation, based on meeting and co-action of two or more bodies, hermetic from the outside (so erotic relation also can be presented by this notion). (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.