Tracing sources of recent neo-conservatism in Poland
counselling service. While working as a teacher and at the advisory centre, he gathered a huge collection of the questions he had been asked in school, and of the letters he had received by mail. The questions he was asked covered standard issues such as anatomy, masturbation, sexual initiation, contraception, homosexuality, transsexuality, and STDs (Sokoluk 2003 : 19).
When writing the handbook, Sokoluk already had a vast collection of questions and letters. He based the handbook on his experience in youth counselling. As he told me, while preparing
The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
This book provides a reading of both fictional and medical writings concerned with auto-erotic sexuality in the long nineteenth century. It examines the discourse on masturbation in medical works by influential English, Continental and American practitioners such as J. H. Kellogg, E. B. Foote, Havelock Ellis, Krafft-Ebing and R. V. Pierce, as well as a number of anonymously authored texts popular in the period. The book demonstrates the influence and impact of these writings, not only on the underworld literatures of Victorian pornography but also in the creation of well-known characters by authors now regarded as canonical including Dean Farrar, J. S. Le Fanu, Charles Dickens, Oscar Wilde and Bram Stoker. It is not merely a consideration of the male masturbator however: it presents a study of the largely overlooked literature on female masturbation in both clinical and popular medical works aimed at the female reader, as well as in fiction. The book concludes with a consideration of the way the distinctly Victorian discourse on masturbation has persisted into the late-twentieth and twenty-first centuries with particular reference to Willy Russell's tragic-comic novel, The Wrong Boy (2000) and to the construction of ‘Victorian Dad’, a character featured in the adult comic, Viz.
Movies speak mainly to the eyes. Though they started talking in words some seventy years ago, what they say to our ears seldom overpowers or even matches the impact of what they show us. This essay proposes to read one more time the issue of homosexuality in Mary Shelley‘s first novel, Frankenstein. In order to offer a new angle on the homosexual component of Victor Frankenstein‘s relationship with his creature when next teaching this most canonical Romantic novel, this essay considers Shelley‘s work alongside four film adaptations: James Whale‘s 1931 Frankenstein, Whale‘s 1935 The Bride of Frankenstein, Richard O’Briens 1975 The Rocky Horror Picture Show, and Kenneth Branagh‘s 1994 Mary Shelley‘s Frankenstein. These films present their audience with original readings of their source material, readings that can be questioned with regards to their lack of truthfulness to the original works themes and characters.
Dispelling Misconceptions about Sexual Violence against Men and Boys in
Conflict and Displacement
Heleen Touquet, Sarah Chynoweth, Sarah Martin, Chen Reis, Henri Myrttinen, Philipp Schulz, Lewis Turner, and David Duriesmith
violence against men and
boys is often understood as anal rape ( Carlson,
2006 ; Chynoweth, 2018 ). The
World Health Organization’s 2003 Guidelines for Medico-Legal Care for
Victims of Sexual Violence state that the most common forms of
conflict-related sexual violence against men are anal and oral rape and forced
masturbation ( WHO, 2003 : 13). More recent
publications have asserted that the most common types are forced sex acts and
The body as amusement park:
a quick history of masturbation
There are so many ways in which one could begin this chapter: with a joke,
a masturbatory image, a philosophical conundrum, or perhaps the description of a performance piece – all will occur later in the chapter. However,
let us begin with auto(erotic)ethnography. ‘Auto(erotic)ethnography’ is
the title of Kristen Blinne’s experiment, a hybrid of erotic story telling and
auto-ethnography, where the focus, and possible outcome, is masturbatory.1
Playing with, as she puts it, ‘heightened sensual energy
In her 1991 book Women On Top , the best-selling American author Nancy Friday expounds on the benefits to women of masturbation, describing it as ‘a sweet sedative before sleep, a beauty treatment that leaves us glowing, our countenance more tranquil, our smile more mysterious’. 1 The advantageous aspects of ‘selfloving’ for the twentieth-century woman are elsewhere promoted by feminist sexologist Betty Dodson who declares ‘masturbation is our first natural sexual activity. It’s the way we discover our eroticism … the way we learn to
-century manuals had to say on the topic of ‘onanism’, a favoured euphemism for masturbation, Rusbridger asserts ‘If a hundredth of the diseases it was said to cause were really linked with the act the entire Western world would long ago have been wholly populated by blind, impotent, bald, dwarf, epileptic cowards’. 1 Rusbridger’s comedic assessment of these publications may be interpreted as an endorsement of Foucault’s vision of the perceiving post-Victorian society as ‘“We Other Victorians”’. 2 It reflects the mocking disregard of the views of one society by another which
… my father said it was the most fatal curse which could ever become rife in a public school.’ 2 Although, in Eric , the exact nature of ‘It’ is never explicitly identified, given the evidence of the headmaster’s sermon, there are ample grounds to suggest that the ‘evil’ which Dr Rowlands (Eric’s headmaster) railed against was masturbation. The practice of ‘ secret sin ’ was notably condemned in the later work of J.A. Conwell as ‘the greatest curse of blossoming manhood’. 3 Indeed, in his 1897 article, ‘Immorality Among Schoolboys’, M.C. Hime advocates that pupils
The discourse on masturbation, in terms of its cultural implications at least, does not conclude with the Victorian era. Indeed, it persists to the present, in a popular, albeit frequently comedic, form independent of any sustaining contemporary medical support. This much might be gleaned from Philip Roth’s 1969 novel, Portnoy’s Complaint , in which the narrator frantically masturbates himself into a sense of guilt utilising, among other things, his sister’s ‘cotton panties’, a cored apple and a ‘piece of liver’ which he ‘violated