#second one is “erotism: death and sensuality” by Georges Bataille | Explore Tumblr Posts and Blogs

obrother1976 · 7 months

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can u make like. ur top 10 books. freak books. anything. kisses your brain

sure!! these r not gonna be ranked bc god knows i could never choose between them & also im gonna be annoying and ramble a bit about every one

death in venice by thomas mann (classic. but its so rich w metaphors and symbolism. if you do read it, i'd recommend reading "the uses of myth in death in venice" by isadore traschen afterwards, bc it does a great job explaining all the freudian allegories and mythological symbolism and u'll literally be tearing ur hair out afterwards over how brilliant thomas mann was)

the carnivorous lamb by agustín gómez-arcos (idc that i've already talked about this a gajillion times on here. its literally the best book i've ever read. i'll forever be obsessed and i wish there was literally anything that could ever hit as hard as this did. if u read it, anon (if u havent already) dont go through the carnivorous lamb tag on here bc u need to experience this without any big prior knowledge. trust me)

erotism: death and sensuality by george bataille (ik im just listing the classics atp. but how could i ever leave that one out. this ones a lot and depending on how into bataille & philosophy in general u are it could be too much. but if u havent already read this one anon, just read the introduction. trust me ure gonna loose it from that alone)

gemini by michel tournier (this one... took me ages to get through it on my first read bc of the way its written, but it was so worth it. not even gonna say much about this one - its basically like if twins by bari wood was good lmao)

incest: from a "journal of love": the unexpurgated diary of anais nin, 1932-1934 (or every anais nin diary ever in general, but this one especially. there was just no one that got it quite like she did)

indecent theology: theological perversions in sex, gender and politics by marcella althaus-reid (sorry for literally recommending theory. im pretty sure u were asking for fiction lol, but this (& althaus-reid in general) is everything to me. if u've any interest whatsoever in theology u should check this one out)

the sluts by dennis cooper (slightly controversial opinion i think? not that the book itself is controversial, just that dennis cooper is very hit and miss at times. this book tho, definite hit. its so intense and convoluted and i loved every second of it. read this before death and sensuality and u're guaranteed to think of nothing else for at least a month)

querelle of brest by jean genet ("those knock-out body fluids: blood, sperm, tears!". kind of a classic since theres also the fassbinder movie but i prefer the book tbh. its been a while since i've read it but it'll forever be in my favourites)

crash by j.g. ballard (yeah ik we've all seen crash but i need more ppl to read the book. hold on actually i need to insert one of my favourite bits from it here:

Reaching through the fractured windshields and passenger windows around me, I marked my semen on the oily instrument panels and binnacles, touching these wound areas at their most deformed points.)

ada, or ardor: a family chronicle by vladimir nabokov (one of the most beautiful books i've ever read. probably not the most helpful recommendation bc im pretty sure its a classic but i cant not mention it.)

also some bonus recommendations of books that didnt make the list bc they're either not freak books or bc i havent read them yet:

christopher and his kind by christopher isherwood (not a freak book. not even remotely. but will forever have a special place in my heart.)

the sparrow by maria doria russell (read this one anon!!! this would be on the list, but im not fully finished w it yet so i cant officially put it in my top 10 yet)

exquisite corpse by poppy z. brite (havent read that one yet but its on my list!!)

autobiography of red by anne carson (not a freak book. beautifully written, a work of art really)

as meat loves salt by maria mccann (havent read that one yet. hoping its as good as everyone says)

skagboys by irvine welsh (one thing about me is that i'll always find a way to mention the trainspotting books)

#u guys r feeding my ego big time w these media asks.#i love doing lists ngl. just waiting patiently until the 'top 10 favourite academic papers?' ask drops lmao #also mwah <3 @ u anon. kissing u for that ask #oh also anon: if u havent already read carnivorous lamb and decide to check it out - u neeeed to listen to velvet voices by townes van zand #while reading it. theres no bigger reason behind that. its just that i listened to it on loop while reading #and that was literally a spiritual experience #ask

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moonchild-in-blue · 2 months

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darya 👀👀👀👀 you maybe happen to have more women x death imagery like the one by Appolonia Saintclair? i can kneel and bow and do chores and i can cook decently if you care and i can kiss your knuckles tenderly btw … whatever it takes

Sophi honey, I am so sorry about the upcoming infodumping...... This is probably not quite what you asked at all, but alas. The art graduate jumped out. I don't have many sexy naked ladies riding Death for you, so here's a very brief overlook of Death and The Maiden depictions in art instead?

(i accept the cooking and kisses and return them tenfold)

For those who are wondering, this is referring to this beautiful piece by @apolloniasaintclairofficial, tasteful drawing of a naked woman sitting on Death's lap, while he holds a dagger. Beautiful and erotic.

I mentioned in the tags how much I loved seeing depictions of Death and women in art. Now, in art history, this is a recurring motif dubbed Death and The Maiden, often with erotic and sacrilegious undertones, and particularly prevalent amongst German artists. I did a quick google research on the origins of it, and according to the internet, was a common theme since the Middle ages, originating from the Danse Macabre allegories, with a significant revival in the Romantic Period. (wikipage here)

The allegorical motif of ‘Death and the Maiden’ (a young girl, often in a passionate embrace with a skeletal figure) had been popular with German artists and musicians since the Middle Ages, and its reminder of transience and mortality was especially appropriate during this period of foreboding (referring to WWI). [taken from the Tate's entry about Meidner's Death and the Maiden]

Here are some very interesting articles about Death and The Maiden throughout history - Paintings for our time: Death and the Maiden and Death and the Maiden. From Schubert to Schiele. I read them both while researching this, super informative without being overtly verbose. Great selection of art pieces.

Death and the woman, by E. Munch

I'm very fond of this drawing by Munch (huge fan of his lol). Every time I see Death and Women embracing each other so tenderly, my heart breaks for a second. There's just something that is equal parts sensual and tender, something that transcends the inherent sexual appeal of erotic art, something poetic and poignant. Oof.

Here are some selected pieces by K. Kollwitz - X X, and this beautiful piece by E. Schiele (a student of Klimt, you can see the similarities in style).

Also, the revival during the Romantic period was in great part due to Schubert's Der Tod und das Mädchen (Death and the maiden), a lied he wrote based on this beautiful poem by Matthias Claudius, which would later be used in his piece String Quartet No. 14, also known and Death and the maiden. The poem:

The Maiden: Pass me by! Oh, pass me by! Go, fierce man of bones! I am still young! Go, dear, And do not touch me. And do not touch me. Death: Give me your hand, you beautiful and tender form! I am a friend, and come not to punish. Be of good cheer! I am not fierce, Softly shall you sleep in my arms!

Also! I found this super interesting book (it's a free english pdf) called Erotism - Death and Sensuality (og. L'Erotisme) by Georges Bataille, which explores in depth the relationship between erotica, death, taboo, sacrifice, Christianity, and many other themes. I haven't read it but this does look incredibly interesting so. I know what I'll be reading next.

I could go on and on and on about WHY I am so fascinated by these themes, but that would result in yet another big-ass post, and I think this is enough info for one day lol.

(before I forget, I just want to point out that this directly overlaps with depictions of Hades and Persephone, seeing as Hades was often times associated with Death itself - even though Thanatos is the one who embodies the Reaper figure in the Greek myths. So I'm sure you'll find some other tasteful pieces if you go down that route).

#I AM SORRY ABOUT THE UNWANTED LECTURE #if someone asks me art questions i just can't help myself #also. mind you this was a very brief research so there's probably so much i am missing. i apologise for any incongruencies lol #i hope this satisfies your question! super recommend skimming through the articles #darya answers #darya is unhinged #art

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nicklloydnow · 3 years

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The Irish Times Loves/Hates Bataille With a Passion

“Even by the standards of French literature, Georges Bataille was a serious pervert. He was also, at least for part of his life, mad. Pornographic novels such as The Story of the Eye, and Blue of Noon, and bizarre early texts such as The Solar Anus, betray not only the influence of surrealism, a movement with which Bataille was fractiously involved, but evidence of a genuinely sick mind. If Bataille did not become an influential 20th-century thinker, we might instead be reading about him in true-crime books detailing abominable acts.

(...)

Having abandoned his blind, incontinent father to the approaching German forces during the first World War, Bataille sought forbidden knowledge in the foulest of extremities. Human sacrifice, organised war and festivals of cruelty would have their place in any society unwise enough to let him call the shots. During the second World War, he did in fact establish a notorious secret society, Acéphale, whose members met in a forest outside Paris, where they may or may not have conducted disturbing rites (their highest aspiration was to perform a human sacrifice).”

“He did, it is true, have notions of founding a new religion; but it was to be one of profanity.

(...)

A priest of nothingness who wished to replace eschatology with scatology.

(...)

He was determined to expose and embrace the Horror. Without condition, without alibi, without excuse.

(...)

The only politics Bataille admired was that of terror and excess - the practice of useless expenditure. The rest was compromise. His parting testimony says it all: "One day this living world will pullulate in my dead mouth".

(...)

But this is a hard book to digest. Not because it is badly written - it is, in fact, beautifully crafted - but because it is profoundly disturbing, disorienting and ultimately dispiriting. Certainly not bedside reading. Indeed not really recommendable for anyone sensitive, optimistic or even half-humane.”

#bataille #georges bataille #ireland #irish times #eroticism

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topmixtrends · 6 years

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THERE HAS ALWAYS BEEN a lot of hand-wringing around erotica, especially erotica that centers on female submission. Feminists worry that it perpetuates harmful gender dynamics, while conservatives shudder at the frank depictions of female sexuality. Intellectuals usually dismiss it as smut. In the meantime, millions of people — mostly women — gobble it up. The box office success of Fifty Shades Freed, the third installment in the Hollywood trilogy based on E. L. James’s best-selling BDSM romance series, is only the latest example. How is it, wondered pundits, that this particular movie is a hit at the height of the #MeToo movement? Why are women flocking to see a film about a rich, white man dominating a much younger, much less powerful woman?

There’s no obvious reason that a movement against misogyny, sexual assault, and non-consensual advances should be incompatible with fantasies of consensual, sexual submission. For one thing, fantasies of submission are not strictly a female feminine phenomenon. A study conducted by University of Kansas psychologist Patricia Hawley in 2009 found that both men and women preferred to imagine being dominated by, rather than dominating, another person. In fact, men preferred this even more than women. In conflating #MeToo and the light BDSM of Fifty Shades, common sexual fantasy and desire immediately became pathology and neuroticism — how could women want both at once? How do we square sexual fulfillment and freedom from unwanted sexual advances?

Actually, the film’s success should not have been a surprise — and not because Jamie Dornan’s six-pack has its own fan page (it doesn’t actually, but it should). Historically, erotica that focused on female submission emerged at precisely the moment when women were beginning to challenge the status quo. The Story of O, the seminal novel by Anne Desclos (published under the pen name Pauline Réage) and largely considered the literary height of BDSM erotica, was published in France in 1954, on the cusp of the women’s liberation movement, five years after Simone de Beauvoir’s The Second Sex. Emmanuelle, an erotic odyssey of sexual liberation and submission penned by Emmanuelle Arsan, became a best seller in 1967 France, one year before the May 1968 protests, which eventually gave rise to the Mouvement de libération des femmes (MLF, Women’s Liberation Movement). Anaïs Nin’s Delta of Venus, a short story collection that features, among other tales, fantasies of sexual submission and dominance, was published in 1977 in the United States, at the height of female sexual liberation, the same year that the first National Women’s Conference was held. Meanwhile, Fifty Shades of Grey hit bookstores in 2011, just as so-called fourth-wave feminism was beginning to take off.

That these seminal works — all authored by women — emerged during or immediately preceding a wave of feminism isn’t a coincidence. In fact, the pattern seems to point to the ways in which these feminist movements might work alongside these erotic texts. In examining the bonds of patriarchal oppression, including those internalized by women, and playing out fantasies of male domination, these forms of erotica offer a fuller, more nuanced understanding of female identity and sexuality. This is an important step toward empowerment, as well as a way to mediate the anxiety inherent in dismantling traditional gender roles. If we think about erotica in this way, it’s really no wonder that millions of women want to read about, or watch, a woman consensually subjugated by a man for pleasure. All too often, in the real world, male domination just has to be endured.

In fact, it is likely that male domination, as it rightfully becomes less acceptable in the social and political spheres, should become more appealing as a fetish. As Georges Bataille argued in Erotism: Death and Sensuality, eroticism is an essential way for man and woman to confront their own limitations, including their own mortality. Because humans, unlike animals, came to grasp with their own mortality through reason, it is only when we flout reason — when we lose touch with it entirely — that we can come close “to touching the infinite”; that we can ever achieve transcendence. In climax, many of us don’t know our own names — let alone the truth of our own mortality. Any sexual satisfaction has the possibility of offering such euphoria — but, for Bataille, fetishes, or acts that defy sexual taboos, are particularly potent conduits for transcendance since, by definition, they make even less sense than so-called mainstream predilections. In Bataille’s world, we should all give up meditation and pick up a fetish instead. Indeed he asserts, “Eroticism, unlike simple sexual activity, is a psychological quest […] eroticism is assenting to life even in death.”

As women become more dominant within the spheres of reason — the economic, social, and political spheres — the desire to transgress their own taboos takes on a new urgency. In other words, the acquisition of power might lead to a desire for obliteration. This idea is actually supported by scientific research: a study published in 2009 by the Journal of Sex Research, found that socially dominant women are more likely to enjoy fantasies of submission, perceiving these fantasies as an expression of their own irresistible desirability, rather than as an exercise in force.

This may explain why more than half of the 25 books on Amazon’s best-selling erotica list feature male domination, from the relatively banal (like a forbidden love between student and professor) to the dark (like fantasies of kidnapping). The broader cultural context can also explain certain subgenres that have recently emerged as major trends within contemporary erotica. One of these erotic subgenres is “breeding,” wherein a man sexually dominates a woman with the primary intent of impregnating her and forcing her to bring his children into the world. When it comes to reproductive rights, despite the many troubling restrictions that persist today — with perhaps more on the horizon — women do have more choices than ever before (at least, in the long span of repressive reproductive history), and choice can breed anxiety. Of course, a text that might work through this anxiety does not indicate that women would like to be stripped of these rights — any more than the thrill of a horror movie suggests a latent desire to die. On the contrary, both the slasher film and the breeder fantasy are vehicles through which we can explore our deepest fears and concerns — whether we will have children, whether we can ever really be safe — thereby transgressing and hopefully, overcoming them, if only briefly. Dressed up in clichés, corny writing, and studmuffin-laden covers, these popular books can be considered tools for social empowerment and sexual liberation.

Let’s take the Story of O as an example. In the book, O — whose very name evokes a hole and its implied vacuity, a crude representation of the female sex — begins a quest to understand and prove her consuming devotion to her lover, René, through complete submission to his every whim and, later, to those of Sir Stephen, to whom René has “given” her “so that he may use her in any manner he desires.” Ultimately, O’s impulse for submission leads her down a path of total annihilation that culminates, almost inevitably, in her suicide. The last line of the novel reads: “O, seeing that Sir Stephen was about to leave her, said she would prefer to die. Sir Stephen gave his consent.”

The impulse to conflate a protagonist’s actions with the moral perspective of the author can be extremely strong, particularly when discussing works by women. It is not entirely surprising then, that even feminist critics have argued that O’s suicide promotes gender inequality and glorifies male dominance. And yet there are a number of other ways to interpret this story, as well as its ending. It is hard to believe that Desclos meant O’s demise to be viewed positively — or even literally. In fact, it seems more likely that the tragic conclusion might serve as a warning about the dangers of all-consuming subservience. If willful submission is ultimately a quest for transcendence and self-effacement — as it is in a divine or religious context — then wouldn’t death naturally be its ultimate, and most liberating, expression? Despite its sexually explicit content, O’s search is, in many ways, a philosophical journey not unlike those undertaken by religious mystics. Indeed, the conditions of O’s “training,” which takes place in a secluded castle, can be considered analogous to that of a monk’s initiation: she is induced to give up her worldly possessions, stripped of her identity, isolated, and submitted to various physical trials designed to test the will’s triumph over the body. Throughout her debasement, O finds “the chains and the silence, which should have bound her deep within herself, which should have smothered her, strangled her, on the contrary freed her from herself.”

Science might actually provide further proof for this reading. A 2009 study conducted by psychologist Pamela H. Connolly revealed that BDSM practitioners had lower levels of depression, anxiety, post-traumatic stress disorder (PTSD), psychological sadism, psychological masochism, borderline pathology, and paranoia compared to normative samples. What’s more, a later study, published in Psychology of Consciousness: Theory, Research, and Practice in 2016, found that both dominants and submissives entered altered states of consciousness that, while distinct experiences, were both pleasurable. Dominants entered a state of “flow,” associated with focused attention, a loss of self-consciousness and optimal performance of a task. Submissives, on the other hand, entered what is known as transient hypofrontality, a term coined by Dr. Arne Dietrich to describe the buzz that comes with intense physical exertion, or “runner’s high.” Transient hypofrontality reduces pain, and can produce feelings of floating, feelings of peacefulness and feelings of living in the here and now. The Story of O could be read as a kind of precedent to these findings, a form of finding liberation from the mental ties that might otherwise bind us.

The mainstream and literary culture’s dismissal of works like the Story of O and Fifty Shades of Grey is of course, predictable. In 1978, Audre Lorde wrote an essay titled “Uses of the Erotic: Erotic as Power,” in which she described the paradoxical way that female sexuality is often pathologized: “On the one hand, the superficially erotic has been encouraged as a sign of female inferiority; on the other hand, women have been made to suffer and to feel both contemptible and suspect by virtue of its existence.” According to Lorde, the “suppression of the erotic as a considered source of power and information” in women’s lives is one of the primary results, and functions, of gender inequality. When we ignore or demean consensual BDSM erotica, or stories about female sexual submission, we inadvertently contribute to a cultural legacy that routinely pathologizes, demeans, or erases women’s sexual desires.

Moreover, in ignoring these works, we effectively silence women authors. In Hélène Cixous’s 1975 essay, “The Laugh of the Medusa,” the act of writing is closely linked to women’s sexual pleasure and personal power — to write as a woman is always an act of transgression. Nin, in the foreword to Delta of Venus, characterizes the process of working on the project as opening a “Pandora’s Box [which] contained the mysteries of woman’s sensuality, so different from man’s and for which man’s language is inadequate.” She recognized that in opening Pandora’s Box, she would release demons as well as angels. Female sexuality, like male sexuality, has nothing to do with morality or politics. Indeed, it is, in its many varied and unfiltered forms, a source of pleasure that often defies such ethical distinctions. Until we are brave enough to investigate it unflinchingly — without turning it into a pathology, without pitting it against feminist movements — women will not be able to achieve sexual liberation. As Lorde writes:

The fear of our desires keeps them suspect and indiscriminately powerful, for to suppress any truth is to give it strength beyond endurance. The fear that we cannot grow beyond whatever distortions we may find within ourselves keeps us docile and loyal and obedient, externally defined, and leads us to accept many facets of our oppression as women.

Erotica is not at odds with today’s feminism. If erotica is written by women, if it explores the depths of unmentionable fantasies, if it helps us think through the pleasures, fears, and anxieties inherent in sex and power, it is doing feminist work. Raunchy female-penned books don’t just offer thrills — they are important vehicles through which women can explore an otherwise prohibited eroticism. If we can find a way to appreciate this kind of work, instead of undermining it, we might also find another interesting — and rather fun — route to sexual and social empowerment.

Hayley Phelan writes about culture, style, travel, food, and the internet for The New York Times, New York Magazine, The Wall Street Journal, Elle, Conde Nast Traveler, Business of Fashion, and The Cut. She also has a column in the New York Times Thursday Styles Section.

The post Why We Need Erotica appeared first on Los Angeles Review of Books.

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