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Richard Allen and Ira Bhaskar

This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular “chronotope”, or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.

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Daniel Lewis

stay in control because they desire the freedom offered through sleep and dreaming. In these essays, Dickens finds the bedroom space to be too inhospitable and a dangerous threat to his masculinity, and so leaves this space regularly to enter the public

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Off the Beaten Path

Non-Metropolitan Representations of Homosexuality in Three French Films

Romain Chareyron

This article offers a reflection on the ways in which the representation of gays and lesbians in contemporary French cinema has mostly focused on specific and limiting traits. With their choice of locales (Paris and other cities) and bodily characteristics (young, fit), these films convey a restrictive view of homosexuality. Such portrayals have gained traction due to their numerous iterations in films and in the media. By focusing on the works of three directors who have adopted a radically different perspective in their portrayals of homosexuality, this article will highlight the close ties that exist between sexuality and topography. Providing a more true-to-life account of homosexuality, the films move away from cities to investigate the geographical margins. In so doing, they question the tenets of France’s republican ideals, where differences tend to be smoothed out in favor of unity and homogeneity. These films reinstate diversity and individuality at the heart of their narratives.

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“The Rain It Takes to Learn the Limits of the Self”

Wetness, Masculinity, and Neoliberal Erotics in Andrew McMillan's Playtime

Nicholas Hauck

to take his shoes off shake his hand point him towards the place where he is needed ( McMillan 2018: 52 ) Here, the encounter between the speculative voice in the poem and the workman conflates desire and need. It is unclear whether the

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Welcome to “Planet Porno”

Masculinity, Sexuality, and Fitness Doping

Jesper Andreasson and Thomas Johansson

scholars that the desire to improve one's appearance and social status is one of the most important factors in men's engagement in fitness doping, which usually means aiming for bigger muscles in line with prevailing norms of heteronormative masculinity

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India Halstead

, and artistic movements of the 1960s and early 1970s. 3 My first aim is to suggest that the desire for an erotic, embodied communality reminiscent of Eros is evident in the way Rebecca Horn engages with space and the human form, and that Marcuse's work

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Beyond Binaries, Borders, and Boundaries

Mapping the City in John Rechy's City of Night

Eir-Anne Edgar

,” the court declared that “the female patrons’ cross-dressing legitimized the ABC's decision to revoke Vallerga's liquor license. The decision stated: “Any public display which manifests sexual desires and urges’ could be considered harmful to the

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Elizabeth J. McLean, Kazuki Yamada, and Cameron Giles

of same-sex desire during the late nineteenth and early twentieth centuries. The term “bachelor” itself falls into this discursive category—whether this is playfully prefixed by “hardened” or, as is more commonly said, “confirmed”—and many students of

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James K. Beggan

man or men who just penetrated her.” In contrast, as noted by Susanna Paasonen and colleagues, “cum shots have become part of private fantasies and desires—and hence part of everyday sexual practices” ( 2007: 13 ). The goal of the present article is

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Rainer Reisenzein

their interest—for example, a particular camera movement (e.g., Seeley and Carroll 2014 ) or a particular narrative structure (e.g., the plot twist; Pérez and Reisenzein submitted). Second, they desire to better understand the nature and function of