By Pepper Schwartz, Martha Kempner
50 nice Myths of Human Sexualityseeks to dispel typically authorized myths and misunderstandings surrounding human sexuality, delivering an enlightening, interesting and tough booklet that covers the fifty components the author's think members needs to comprehend to have a secure, gratifying and fit intercourse life.
Dispels/Explores regularly permitted myths and misunderstandings surrounding human sexuality.
Includes comparisons to different nations and cultures exploring diverse ideals and the way societies can impression perceptions.
Areas mentioned comprise: pre-marital intercourse, masturbation, sexual illnesses, fable, pornography, relationships, birth control, and feelings reminiscent of jealousy, physique photo lack of confidence, passionate love and sexual aggression.
Covers either heterosexual and same-sex relationships.
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Additional info for 50 Great Myths of Human Sexuality
35 The Early Ghost Lanternists 43 Schiller had revealed how, when it came to the art of allure: confusing and drawing the wool over people’s eyes, erotic temptation was analogous with the eerie illusions of the magic lantern and vice versa. The appeal of lanterns based on sexuality, fear, attraction and awe, could be combined or employed successively. The pictures of the magic lantern were as powerful and suspect as a woman’s charms. Moreover, he had revealed that where one of these interchangeable stimuli failed, the other could succeed.
The screen for the projections of Goethe’s lantern of love comprised mere ‘whitened walls’, a site confirmed in Erasmus Darwin’s poem The Temple of Nature where: in some village-barn, or festive hall The spheric lens illumes the whiten’d wall (Canto III. 139–40)73 Yet Darwin also alludes to ‘motley shadows’ dancing ‘along the sheet’ (III. 75 On fine, dark nights, a lantern-display could be shown on exterior walls and light-coloured eaves. A very wide range of venues was available for such spectacles, and even the more risqué slides could be exhibited at cigar divans, private theatres (the erotic ‘parades’ and ‘théâtre d’amour’), people’s homes, gentlemen’s salons called ‘smokers’, brothels, segregated ‘male attractions’ at pleasure gardens, fairgrounds and stag evenings.
Palmer writes: Gendered implications of the magic lantern mode of discourse seem to highlight the screen as the female representation of male visual desire, as well as the Irigarayan site of projection of the male’s mirrored self-image. This would seem to invite viewers to assume, facing and focusing upon the same object as the phallic lens, the masculine role and viewpoint. e. ‘inacting’) the traditionally feminine functions of backdrop, support for masculine projections, and blank space, also enables the arousal of libidinal excitation in voyeuristic gazers finding pleasure in exercising this dominant mode of observation.