Forbidden Desire Research Articles

데이터로 본 판소리의 性 인지 체계: 신재효本을 중심으로

This study analyzes the sexual cognitive system in pansori works using Shin Jae-hyo’s pansori texts as the research subject. To that end, I first extracted excerpts of sexual expressions from Shin Jae-hyo’s pansori texts such as Chunhyang-ga(NamChang), Simcheong-ga, Bak-Taryeong, Tobyol-ga, Jeokbyeok-ga, and Byeongangsoe-ga. Then, I input them on a sentence-by-sentence basis with metadata including the speaker (narrator), target of description, related characters, works, and excerpts. As a preliminary step for the quantitative analysis, I performed morphological analysis and preprocessing on the data entered in the text column. This made the language of the pansori texts suitable for digital analysis tools with the input of new information or stop words into the user dictionary.
 Three analyses were attempted using the data extracted from Shin Jae-hyo’s pansori texts. First, basic statistical analysis was conducted to visualize which work had the most occurrences of sexual expressions and to examine the frequency of speaker-description target pairs when sexual expressions were uttered and their targets. Second, Latent Dirichlet Allocation (LDA) topic modeling was performed to extract topics from a large collection of documents. Third, I used co-occurrence word analysis to reveal the semantic network of words constituting sexual expressions.
 The findings revealed that the sexual cognitive system in pansori works is based on “deviation and return.” That is, while enjoying pansori, one can realize that forbidden desires are, indeed, common desires and can satisfy sexual fantasies. However, such desires should not persist beyond exceptional circumstances and should ultimately be concealed and transformed to abide byto societal norms. Listening to and reading pansori involves repeatedly deviating from and returning to sexuality as a theme that persists throughout the whole story.

Заглавия романов «Каирской трилогии» (1956–1957) Нагиба Махфуза как интерпретационный материал

The article studies the novels of The Cairo Trilogy written by the famous Egyptian novelist Naguib Mahfouz (1911–2006, Nobel prize 1988), which is considered one of the greatest literary works of the 20th century and the prime work by the author. The titles of the books Bayn al-Qasrayn, Qasr ash-Shawq, and as-Sukkariyya, which literary mean ‘Between two palaces’, ‘Palace of desire’, and ‘Sugar street’, are taken from the names of actual streets situated in the old quarters of Cairo. The novels follow the life of a Cairene family ‘Abd al-Gawwad living in a historic Cairo district; the titles point at the streets where the family’s houses are located. The principle of entitling the books may seem simple – by location. Regarding titles as a special type of texts, sometimes called frame texts, the article examines the following questions: is it true that the titles of the novels do not point at anything except geography? Do the texts meet the reader’s expectations created by the titles? The article concludes that the locations named in the titles not only highlight the national character of the novels but also prioritize the space of the family’s universe that survives a massive transformation during the first half of the 20th century. The novels show how the social changes ruin all the hierarchical family relations. The first title conveys the idea that the ‘Abd al-Gawwads ‘hang between’ two historic periods; the subsequent books show that the family does not cope very well, and there reigns corruption, illness, and lack of morality. From this point of view, on the one hand, the titles fulfil the reader’s expectations because the characters are shown to prefer ‘forbidden desire’ and alcohol to family life and honest business; on the other hand, there is a contradiction with the expectations created by the third title as this lifestyle does not bring any ‘sugar’ to their lives.

Ghaddhul Bashar dalam Perspektif Hadis

The wild gaze of the opposite sex can be the first cause of adultery. Such gaze will lead to fantasies and forbidden desires in the mind and heart. This is what then encourages a person to step over things that are prohibited in religion. Nowadays keeping the view of the forbidden is a difficult matter, moreover our society has been filled with media provoking lust and lust almost everywhere. Related to this in the hadith of the Prophet SAW said that it is not allowed to continue the first view with the next view. The method used is a text study (library research), with the main source of the hadith book Jami' at Tirmidzi. Ghaddhul bashar means to keep the eyes from looking at the aurat of the opposite sex that is not a mahram. The interpretation of this Hadīth is to limit looking at the aurat of the opposite sex by not observing or not paying attention with interest so as to generate desires and fantasies of sinning, because in the Arab tradition a look can be interpreted as an invitation. Hence, it is not permissible to follow up the first glance with another one.

A Review of The Neurological Basis of Maladaptation

In Freudian terms, stupidity is a defense mechanism which keeps culturally forbidden desires at a subconscious level. It is bad enough that the mechanism for informing us about our envi- ronment is disrupted, but stupidity also isolates us from ourselves. All we are likely to know about our society and ourselves is that which is culturally acceptable. Consequently, much conscious knowledge is only obliquely related to a restricted reality, being limited by subconscious biases and thus often irrelevant to the solution of existing problems.

Dreams Without Disguise: Using Freud’s Case of Dora to Demonstrate a Radically Client-Centered Approach to Dreams

In contrast to Freud’s conviction that dreams are a disguise of unconscious forbidden desires, this dream-centered methodology shows that dreams are intrinsically honest and have “self-discernable” meaning that can only be grasped by the dreamer. The article describes simple techniques to help clients center on their dream experience and self-realize the truths embodied in the rich, wondrous, and mysterious (but not “disguised”) images in their dreams. By using Dora’s own words and applying historical/biographical details of her life, the method allows her dream images to finally speak their truths—and overcome the tyranny of Freud’s relentless, over-sexualized interpretations. By repeatedly overruling Dora’s own ideas with his authority, Freud caused Dora to distrust her own understanding of her dream images along with her other feelings and perceptions about herself and the outrageous conduct of the adults in her life. By helping to facilitate the self-discernible meaning of dream images, therapists honor the autonomy of clients like Dora and foster their self-affirming capacity to draw wisdom and enrichment from their dreams.

An Aesthete in Despair: Reading Lolita through Kierkegaard’s Aesthetic Sphere of Existence

Abstract Since its publication in 1955, Vladimir Nabokov’s contentious novel Lolita has stirred heated controversies that originated from Nabokov’s treatment of a thorny subject matter. What makes his achievement so stupendous is that he penned a book about a forbidden desire and succeeded in persuading his reader to feel for the deviant. The present study intends to fathom Nabokov’s success in his art of deception drawing on Søren Kierkegaard’s existentialist ideologies of aestheticism and despair in order to offer a new insight regarding the elements used in Humbert’s narration and character which bestow upon him the distinctive personality of the aesthete. Referring to Kierkegaard’s spheres of existence introduced in his “Either/Or,” it is suggested that Humbert, similar to Kierkegaard’s Johannes, aesthetically alienates himself from commitment and consequence while keeping an eye open for the interesting and relishing sensual immediacy. It is this shrewd aestheticizing of Humbert’s character that grants him his unique status that has elicited both attraction and aversion.

«Amore su la ruina»: strategie del desiderio mimetico nel primo libro del Forse che sì forse che no

The aim of this paper is to investigate the first chapter of Forse che sì forse che no (1910). D’Annunzio’s last novel brings together the myths of the technical age, celebrated by Futurism, and the conflicting forces of forbidden desire, debilitating eros, madness and fascination with the past. The structure of the chapter, after the beginning dedicated to the challenge of speed and the taste for danger, finds its centre of gravity in the long sequence of the visit to Palazzo Gonzaga, a scene from which variations on the themes of the double, incest, the decline of humanistic civilisation and a dense network of intertextual references unfold. Particular prominence is given to the comparison with Vernon Lee’s writings dedicated to Mantua and the labyrinth.

The Content of Our Caricature: African American Comic Art and Political Belonging

The Content of Our Caricature: African American Comic Art and Political Belonging

The Content of Our Caricature: African American Comic Art and Political Belonging

The Content of Our Caricature: African American Comic Art and Political Belonging

A Psychoanalysis of Milk: The Case of Alfred Hitchcock

A Psychoanalysis of Milk: The Case of Alfred Hitchcock

Bodies Out of Time: Sculpting Queer Poetics and Queering Classical Sculpture in the Poetry of C. P. Cavafy

Two major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy’s poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy’s incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy’s homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy’s poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy’s beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, ‘created’ using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω [‘to make’] in descriptions of ‘those made like me’) and he employs Hellenistic statues as a productive link between his desires and so-called ‘Greek desire’, placing himself within a continuum of queer, Greek men.

Tracking Classical Monsters in Popular Culture

Tracking Classical Monsters in Popular Culture

Tracking Classical Monsters in Popular Culture

Tracking Classical Monsters in Popular Culture

Defiant Deviance and Franco-Moroccan Cinema's Queer Representations of Masculinity

AbstractIn the last decade, Franco-Moroccan directors have begun to explore culturally taboo and unrepresented sexual communities within Morocco. This article examines how two pioneering films, Abdellah Taïa'sSalvation Armyand Nabil Ayouch'sMuch Loved, contribute to an emerging cultural politics in the Arab-speaking world that is reframing marginalized or invisible sexualities. While these films address issues of sexual tourism, incest, and prostitution, among others, the focus of this article is on the films’ critiques of internalized homophobia, sexual tourism, and the sociopolitical power structures that occlude, marginalize, or shame those males outside of the heterosexual matrix. Analyzing the films’ portrayal of the semiotics of forbidden desire, internalized homophobia, and the circulation and spatialization of queer sexualities in Morocco, this article argues thatSalvation ArmyandMuch Lovedcomplicate our understanding of Arab masculinities and add to a growing queer visibility that stretches from the Maghreb to the Gulf.

Suggestive techniques of screenwriting: taboo and unpredictability

The subject of this research is the suggestive techniques of screenwriting on various level of perception of the movie, which engage the audience into cinematographic scene. The majority of movies reproduce the topic of social taboo, pulling upon the forbidden desires, and thus, instigating the audience. Such movies intend to distort the socially accepted moral and ethical restrictions, blurring the boundaries of the generally accepted standard. Alongside the violation of social taboo, one of the most important elements of drawing attention of the audience is unpredictability, used in dramaturgy to create an effect of incompleteness of story and the desire to reveal it. The research is based on the analytical and comparative methods, which allow analyzing particular effects intended by the author at the conceptual and dramaturgical level of the screen work. As a suggestive dramaturgical element, unpredictability can be reflected as a deferred event or a unpredictability  that forms the screen image and character of the hero. Analysis is conducted on the movies “The Return” (2003), “Loveless” (2017) directed by Andrey Zvyagintsev; “Fight Club” (1999) directed by David Fincher; “The Departed” (2006) directed by Martin Scorsese; “Melancholia” (2011) directed by Lars von Trier. The research result consists in characterization of the modern trend of preserving unpredictability within a narrative structure of the movie to maintain non-triviality of the storyline.

How to think the world? Achille Mbembe on race, democracy and the African role in global thought

How to think the world? Achille Mbembe on race, democracy and the African role in global thought

A Performance between Wood and the World: Ludwig II of Bavaria's Queer Swans

In her 1964 essay “Notes on ‘Camp,’” Susan Sontag includes Tchaikovsky'sSwan Lake(1875–6) in a list that illustrates “random examples” from “the canon of Camp.” Though the ballet has become an integral part of the classical repertory for professional companies from Moscow to New York to Sydney as well as the inspiration for numerous figure skaters (most notoriously in Johnny Weir's outré and rhinestone-bedecked interpretation in 2006), it has, as suggested by Sontag, been creative afflatus for gay underground performers for more than a century. But what are the origins of the swan gone queer? As this article demonstrates, I suggest that one way to trace both the swan's queer genealogy and its continuity lies in the dramatic history and lived performance of the ill-fated Ludwig II (hereafter “Ludwig”) of Bavaria (1845–86)—the Swan King (Fig. 1). Tchaikovsky, after all, had been inspired by the dramatic story of the effete young king (and perhaps titillated by a shared closeted gay desire), who would become a prototype for the ballet's tragic hero, Prince Siegfried. In fact, dance scholar Peter Stoneley suggests that “Swan Lakeconfirms the virtual impossibility, in Tchaikovsky's [and Ludwig's] era, of accommodating homosexuality within wider society.” Ludwig's desire was expressed through a lens of his same-sex fantasies and their inspired artistic interpretations, most notably taking form in the construction of his neo-Romanesque, fairy-tale castle Neue Burg Hohenschwangau (more commonly known as NeuschwansteinorNew Swan on the Rock Castle, though it was not renamed until after Ludwig's death). Ludwig's queer positionality also arises from the theatrical way that he performed a highly aesthetic (though hardly effective) approach to monarchy with his swan-bedecked castle and its environs as a sort of metastage set. In this context, the swan may be read as an example of what Donna Haraway calls “a companion species,” or a personal animal symbol (real or mythical) that represents a variety of feelings that are otherwise difficult to express in the hegemonic context of a given time and place (like homosexuality in Roman Catholic Bavaria in the nineteenth century). Ludwig chose the swan (drawn from family heraldry but primarily envisioned in his own life through storybook-driven fantasy) as a means of alternative expression to that normally available to a man in his position and with his responsibilities, and also as a way to enact his forbidden desires.

Psicanálise e arte: uma articulação a partir da não relação em Louise Bourgeois: o retorno do desejo proibido

resumo: Indicando que a articulação entre psicanálise e arte pode ser propiciadora tanto de avanços quanto de desvios significativos na orientação originalmente impressa por Freud para a práxis psicanalítica e para o campo da crítica de arte, o presente texto tem como proposta empreender uma reflexão que ofereça alguns balizamentos que possam auxiliar aqueles que tomam para si a tarefa de produzir articulações entre estes dois modos de tratar o real pelo simbólico. Nosso objetivo é situar a importância de se trabalhar a partir da intersecção, do entrecorte entre estes dois campos.

Human's Passion of Love and the Goddess' Revenge in Euripides' Hippolytus.

This article discusses God’s responsibility for the human tragedy represented in Euripides’ Hippolytus. The play deals with the conflict between Aphrodite, the goddess of love, and Artemis, the goddess of the hunt and the moon. Hippolytus, who hates love affairs with women, ignores Aphrodite but respects Artemis. Aphrodite, being jealous for Hippolytus’ devotion to Artemis, decides to take a vengeance on Hippolytus and appropriates Paedra for her revenge. The forbidden desire is planted in Paedra by Aphrodite, and Paedra is suffered from an irresistible passion of love toward her stepson, Hippolytus. Paedra, frustrated by the rejection of Hippolytus, commits suicide leaving a forged letter which drives Hippolytus to death. Aphrodite has put the irresistible desire to human beings. There is no space for the free will of human beings. Gods are responsible for the tragic passions and tragic destruction of mortality.

Reconsidering “the American Style”: Black Performers and Black Music in Streetcar and Cat

This essay explores the contributions of black performers and black music in two landmark collaborations among playwright tennessee Williams, director Elia Kazan, and designer Jo Mielziner: the 1947 premiere of A Streetcar Named Desire , and the 1955 premiere of Cat on a Hot Tin Roof . With his strong directorial hand, Kazan amplified the black presence in both plays and used both black actors and black music to navigate the realistic and expressionistic registers of each play’s performance. Alternately acting as a realistic sociological frame, a nostalgic evocation of a nearly lost past, an expression of forbidden desire, and as a social and political conscience, blackness served as the bond that held these “unstable compounds” together onstage. by foregrounding the crucial role that black performers and black music played in these milestone productions, I suggest a broader reconsideration of “the American style,” of which these premieres are hailed as representative.