2012) . During the two years it existed, IAU evolved into a pornography/social media hybrid that included the names, phone numbers, and links to the social networking site profiles of people whose naked photos were posted without their consent. Yet
Emma Celeste Bedor
James K. Beggan
to provide a polysemic interpretation of the abject aesthetics of external ejaculation as they appear in straight pornography and by doing so respond to the need that scholars have recognized for a more detailed analysis of the meaning of the cum shot
Perceptions and Realities of Black Men in Heterosexual Porn
Darryl L. Jones II
counterparts ( Allen 1997: 58 ). Many presumptions and assumptions exist about the adult entertainment industry and the people employed in it. A common assumption is that work in pornography is easy, as it does not require the use of any intellectual faculties
Al-Hubb Thaqafa and the New Frontiers of Sexual Expression in Arabic Social Media
Shereen El Feki, Elise Aghazarian, and Abir Sarras
Al-Hubb Thaqafa ('Love is Culture') is a new Arabic social media platform, providing accurate and unbiased information on love, relationships and sexuality. Its website, Facebook page, Twitter feed and YouTube channel offer visitors unprecedented opportunities for interaction, exchanging ideas and opinions not only with experts affiliated with Al-Hubb Thaqafa, but also with fellow users; for all the high hopes of greater freedom of expression in the wake of the 2011 uprisings, such opportunities remain rare, in both politics and personal life, in most countries of the Arab region. Although its content, and language, were initially designed for an Egyptian audience, Al-Hubb Thaqafa has attracted Arabic-speaking visitors from around the world; its combined platforms have been visited more than nine million times since its launch in March 2014.
Debates about little girls' loss of innocence, and the sexualization of girls have become an integral part of media in contemporary culture. Fashion advertising representing young girls and certain types of clothes are specifically prone to generate debates about sexualization. This article looks at the sexualization argument through two sets of fashion editorials, one in a December–January 2011 issue of French Vogue, and another in the December–January 1978 issue of the same magazine. The article exposes the problem of sexualization discourse that relates images to lived experiences of girls even though fashion advertising rarely, if ever, is interested in depicting reality. Sexualization is revealed to be a value statement—the Other of innocence which is set up as the norm. Furthermore, fashion photography is shown to be intertextual; images refer to other fashion photographs. In looking at these issues this article opens up space for discussing the visual and sartorial history of the sexual girl.
This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.
The basic human right to sexual autonomy and self‐determination encompasses two sides: it enshrines both the right to engage in wanted sexuality on the one hand, and the right to be free and protected from unwanted sexuality, from sexual abuse and sexual violence on the other. This concept elaborated by the European Court of Human Rights, in the light of European legal consensus, suggests that the age of consent for sexual relations (outside of relationships of authority and outside of pornography and prostitution) should be set between 12 and 16 years. In any event the age of criminal responsibility should be the same as the age of sexual consent.
Thomas K. Hubbard
Adolescent sexuality has been at the forefront of the recent “Culture Wars,” as is clear from the many news stories and political battles over issues such as sex education, teen pregnancy and STDs, Child Sexual Abuse, enhanced legal regulation of sex offenders, pedophiles on the internet, “sexting” and child pornography. On the one hand adolescents today are more sexually mature than at most historical periods: physical puberty occurs ever earlier (Moller, 1987), while children’s capacity to access the same media as adults grows ever more sophisticated. Already in 1982, Neil Postman presciently observed that electronic media had obliterated the historical technological superiority of literate adults relative to not‐yet‐fully-literate children (Postman, 1982). At that point, he was thinking mainly of television, but his observation has become even more true in the digital age, when adolescents are often the ones teaching their parents and grandparents. 1982 had not yet grasped what would be the ubiquity of MTV or cheap, highly graphic visual pornography in many parents’ closets, or if not there, on their kids’ computer screens. Children have become the most clever at accessing media at precisely the time when popular media culture is more saturated with verbal, musical, and visual images of sexuality than ever before.
The Homoerotics of Male Nursing in Dickens's Fiction
Eve Sedgwick's Between Men: English Literature and Male Homosocial Desire (1985) has had a hugely enabling impact on gay, lesbian and queer studies, and its two chapters on Dickens do the initially useful work of recognising the existence of alternative sexualities within his work. Yet, Sedgwick insists that Dickens always offers such representations from an inherently homophobic perspective. Though recognising a debt to Sedgwick, this article is strongly committed to demonstrating the fallacy of her influential paradigm that the homoerotic emerges most strongly in Dickens's work through violence. Sedgwickian readings privilege the cultural currency of sexual violence, built up through contemporary modes such as flagellatory pornography. However, other, gentler ways of touching also had highly erotic connotations during the period of Dickens's career. This paper focuses on the Victorian sexualisation of nursing, arguing that Dickens deploys the eroticising of nurse/patient roles in Martin Chuzzlewit and Great Expectations to develop more affirmative, tender strategies for articulating desire between men.
Frédéric Martel, The Pink and the Black: Homosexuals in France since 1968, trans. Jane Marie Todd (Stanford: Stanford University Press, 1999); Le Rose et le noir: les homosexuels en France depuis 1968, 2nd edition, revised and enlarged (Paris: Seuil, 2000).
Florence Tamagne, Histoire de l’homosexualité en Europe: Berlin, Londres, Paris 1919-1939 (Paris: Seuil, 2000).
Carolyn J. Dean, The Frail Social Body: Pornography, Homosexuality, and Other Fantasies in Interwar France (Berkeley: University of California Press, 2000).
Daniel Borrillo, Eric Fassin, and Marcela Iacub, eds., Au-delà du PaCS: l’expertise familiale à l’épreuve de l’homosexualité, (Paris: Presses Universitaire de France, 1999).
Louis-Georges Tin and Geneviève Pastre, eds., Homosexualités: expression/répression, (Paris: Stock, 2000).