topics: |  erotica | reference

If there is an erotic concept anywhere, this 1,600 page Encyclopedia probably has a scholarly article on it.

Excerpts

Admirable Discourses of the Plain Girl

Classical Chinese sex manual c. 1566 (but may be c.1000AD also)_

Within the context of the union of yin and yang, man and woman, the text describes the processes in more detail than earlier texts.

There are "Nine Postures," each with an animal affiliation. (1) Dragon Flying, (2) Tiger Approaching, (3) Monkey Attacking, (4) Cicada Clinging, (5) Turtle Rising, (6) Phoenix Soaring, (7) Rabbit Licking, (8) Fishes Nibbling (requires two women), (9) Cranes Entwining.

"Shallow and Deep (Thrusts)," : "one must not be too hasty nor too slow. . . . It is of critical import to avoid too deep penetration or it may injure the five viscera. If penetration reaches the "valley seed," it injures the liver and one will suffer from clouded vision, caked ears, and discomfort in the four limbs." The valley seed is some five inches inside, as described on the preceding page.

"Five Desires and Five Injuries" — five desires means the signs of the five stages of mounting desire in women; five injuries, the five untimely or faulty ways a man can injure his partner’s lungs, heart, liver, kidneys, spleen; in addition are described the ten feminine movements accompanying the different stage of her arousal and complete satisfaction.

	"Thickness and Length"—of the male organ, which is irrelevant
	because "deriving pleasure from intercourse is a matter of inner
	feeling."

	"Nourishing Longevity," in which it is advised
	to beware of too frequent ejaculation;

	"The Four Stages [for man] and the Nine Arrivals [for woman]," :
	"If the man wishes to fathom the woman’s inner feelings, he must
	start to excite her interest by cracking jokes and stimulate her
	feelings by moving hands and feet. . . .  To have intercourse when
	the four stages have not yet been reached nor the nine arrivals
	achieved is sure to bring disaster." - Andre Levy

Art of the Bedchamber Literature (body of texts, China)

	a corpus of about a dozen received texts spanning two thousand
	years.

	CORE ASSUMPTIONS:

	* sexual arousal suffuses the body with a "divine wind," "living
	  qi," or "spiritual enlightenment," but ejaculation brings
	  "weariness, heavy joints, drowsiness in the eyes, parched throat,
	  and buzzing in the ears."

	* Men are like fire, easily aroused and easily extinguished, whereas
	  women are like water, slow to heat up but more sustainable.  This
	  is a fundamental asymmetry between the sexes.

	Ejaculation leads to a loss of yang or positive energy.
	Hence men must regulate their sex lives: "Thrice a month in spring,
	twice in summer, once in autumn, and none in winter" - since yang
	energy is most easily replenished in the spring and summer and should
	be hoarded in the fall and winter.

	The regulation of sex life was as fundamental to health as eating and
	sleeping, and sexual energy ( jing) was one of the three pillars of
	physiology, the other two being vital energy (qi) and spirit (shen).
	Jing is stored in the kidneys, which is also the seat of
	will... [Heart is the center for the intellect]

	Link: Art of the bedchamber: the Chinese sexual yoga classic
	by Douglas Wile

Amaru (8th c.) : Amarushataka

	Amarushataka: one hundred or so detached Sanskrit erotic verses
	 from sometime before the 9th century CE. This terminus ante quem
	 is established by its citation in the ninth-century dhvanyAloka of
   	 Anandavardhana, but beyond this we know virtually nothing
	 of its date, provenance, or authorship.  Perhaps composed in
	 the 7th or 8th c. quite possibly represents the work of more than
	 one author.

	 Its representation of courtly erotic life is quintessentially
	 evocative and haunting. The verses are so many crystallizations of
	 the games and wars of love, the torments and transports offered by
	 the polygamous and promiscuous world of the early Indian court.

	 Each dense stanza (a separate poem) presents an entire world of
	 intrigue, [and numerous commentaries attempt to disentangle the
	 meaning.]  The stanzas are monuments to the power of the detached
	 Sanskrit verse (what in Sanskrit is termed muktaka or subhAShita)
	 to compress content. e.g. verse sixteen of the western recension:

		The pet parrot listened to the words the husband and wife
		were whispering last night. In the morning, the wife heard
		them being repeated before her in-laws in shrill
		tones. Agonized with shame, she invents a muzzle for his
		speech: Pretending to feed the creature a pomegranate fruit,
		she stuffs a ruby from her ear in his beak.

	The emphasis in description is on anger and anguish; on separation
	(viraha), as opposed to enjoyment in union (sambhoga).  e.g. verse 15:
		Somehow, girlfriend, in play anger, I told him "get lost."
		No sooner had the stonehearted fellow got up from the bed and
		left in fury. Now my heart, its shame annihilated, longs for
		that cruel man whose love was rashly cast off. What can I do?
		(15)

	It depicts seemingly endless scenes of men groveling at the feet of
	ladies enraged at their adulterous escapades (sometimes even having
	been accidentally called by the name of another woman). In

		Her anger somewhat abated, she held her moonlike face in her
		hand, while I, all my stratagems abandoned, took only to
		groveling at her feet. Suddenly from the pouch in the corner
		of her eye, which held the glorious banner of her eyelash, a
		tear long retained was let go, tumbling on her breast and
		telling her mercy. (25)

	monogamy seems almost a noncategory:

		"Bowing at my feet, you try to conceal the mark on your
		chest from hugging her breasts smeared with thick
		sandal-paste!" As soon as she said this, I replied
		"What?!" and suddenly embraced her passionately so as to
		rub it off. In a rush of pleasure, she forgot the whole
		thing. (26)

	There are many fantastic tales of Amaru’s life... According
	to one legend, he slept with a hundred women and transmitted the
	experiences into a hundred verses. According to another tradition,
	the great exponent of nondualist metaphysics (advaitavedAnta)
	ShankarAchArya entered the body of the king Amaru and thus studied
	the lore of eroticism without defiling himself.

	Whatever one makes of these traditions, the centrality of the
	Amarus´ataka to the history of Sanskrit literature is beyond dispute.
					     - Jesse Ross Knutson

see: translation excerpts by Andrew Schelling:
	Erotic Love Poems from India: Selections from the Amarushataka

al-Nafzawı : early 15th c., North Africa

	The Perfumed Garden of Sensual Delight [Al-raud al-‘aˆtir fi nuzhat
	al-khaˆ tir]

	Nafzawı’s Perfumed Garden, written around 1411–1433, is a classic of
	international erotic literature.  

	Nafzawi presents the male individual as unquestionably
	heterosexual. A man’s only goal is to satisfy the lust of women, or
	rather to use women in order to satisfy his own lust. In contrast to
	men, women are allowed autoerotic manipulations as well as homoerotic
	contacts.  Besides these digressions, which are, albeit, heavily
	criticized by the author, Nafzawi regards women exclusively to serve
	men, and there is no discernible effort to see female sexuality in
	its own right.

Li Yu (1611–1680) : Rou putuan [The Carnal Prayer Mat] p.852

Li Yu is a quite original and astounding figure in the history of Chinese
letters.  After failing three times the examination to what then was the step
before last to an official position, the Bachelor’s degree, Li Yu soon
(probably around 1642) abandoned any hope of making a career in the Imperial
administration.

In the spring of 1677, settled for his last years by the East Lake in
Hangzhou, a place which remains intimately tied to his most famous penname:
"The Old Fisherman by the Lakeside" [Hushang liweng].

And while, as a true charmer and captivating narrator gifted with pleasant
conversation, he graciously bowed to the necessities of society, he would
however never let go of his taste for provocation which, for instance, led
him to put several of his very own concubines on stage and direct them as a
theater group. Such actions tarnished his reputation for good and definitely
draped his name and work with an aura of scandal. As a result, he was truly
rediscovered only as late as the end of the Twentieth Century.

Li Yu initiated ... an art of living which places the pursuit of pleasure and
of harmony above all the constraints of Confucian society, he would always
seek to convince others of the validity of his own beliefs and share his
tastes. In doing so, he would also unhesitatingly display his loss of
affection for right-thinking routine, just as he would often hunt down
generally accepted ideas. ... in the context of a traumatic dynastic shift
which ended with the setting up of Mandchu power (1644), his attitude is
actually one of unequalled boldness.

Within a period of three to four years, Li Yu thus managed to compose three
collections of short stories and one novel in twenty chapters, delivering a
work of remarkable coherence, ... In these stories, the fading away of the
oral form of the tale [huaben] inherited from the tradition of public
storytellers and taken up by late-Ming literati such as Feng Menglong
(1574–1645) and Ling Mengchu (1580–1644) becomes even more obvious, making
room for a form of literary expression deliberately meant to be read
silently.
			- Pierre Kaser (tr. French Victor Thibaut)

Manga : Japanese comic books p.892

The term manga originally meant "random sketches," and antecedents of the
genre can be found as far back as the seventh century. However, the origins
of modern manga, which are an amalgam of illustrations and text, can be
traced to illustrated tales popular during the Edo period (1603–1868). This
was a time of increasing urbanization, when literacy was spreading throughout
the newly emergent middle classes.  The development of woodblock printing
technology ensured that books, or at least unbound printed sheets, were
available at a sufficiently low price to appeal to a broad audience. Yomihon,
or "reading books," that employed simplified scripts as well as elaborate
illustrations were printed on a variety of topics, of which one of the most
popular proved to be ukiyo-zoshi, or "floating-world story books."  These
contained tales about the courtesans of Japan’s brothel districts
(euphemistically known as the "floating world").

Since the 1980s, the most widespread form of erotic comic aimed at men has
been "Lolita complex" stories referred to in Japanese as rorikon.  It is
commonly observed that seinenshi (magazines for youths) and seijinshi
(magazines for adults) often contain at least one rorikon story, in which a
young girl is featured as a sexual object. However, the very stylized manner
in which these girls are drawn, with long legs, blond hair, and big,
saucer-like eyes, works against a literalistic reading of these images: they
are not meant to depict "real" girls. Since Article 175 is interpreted as
prohibiting only realistic depictions of sex, rorikon manga can contain a
range of paraphilic activities, most commonly sadomasochistic scenarios in
which the girls are groped by phallic stand-ins such as alien feelers,
tentacles, or machine parts. Extreme versions compose a distinct subgenre
known as hentai (or "perverted") manga, which are not generally available
from kiosks and high-end bookstores.

One of the most interesting aspects of Japanese comics is the fascination
for depicting male homosexual liaisons in shojo manga, or girls’
comics. Stories about boys in love with boys date back to the early 1970s,
when a newly emergent group of women artists dispensed with the tired
boy-meets-girl theme that had previously characterized the genre. Instead,
artists such as Moto Hagio and Keiko Takemiya began to depict bishonen, or
"beautiful boys" who were in love with each other. Classics of this genre,
when collected in book form, can run into several volumes and include Hagio’s
Toma no shinzo [The Heart of Thomas] (1974), which is the tragic tale of a
menage a` trois that takes place in a German public school at the turn of the
twentieth century. The first same-sex bed scene featuring beautiful boys was
drawn by Takemiya in her Ki to kaze no uta [The Song of the Wind and the
Trees] (1976). By the end of the decade, stories about the homosexual
liaisons of beautiful boys had become as common in girls’ manga as rorikon
stories were to become in men’s.

Interest in boy-love stories has been stimulated in Japan due to the
existence of a vibrant amateur manga movement comprising mainly young women
artists and writers who create and distribute their own comic books at
komiketto (comic markets) and, increasingly, on the Internet. This amateur
genre is known as YAOI, an acronym of the Japanese phrase YAmanashi, Ochi
nashi, Imi nashi, which means "no climax, no point, no meaning" and refers
to the somewhat slender plots that the authors create as a pretext to get
their male heroes in bed together. It has many similarities to the "PWP"
(Plot? What plot?) genre of slash fiction, popular among Western women, which
takes the male leads of popular TV dramas and imagines them in sexual
interaction with each other.  - Mark Mclelland

[it is said that Osamu Tezuka used yama nashi, ochi nashi, imi nashi to
dismiss poor quality manga, and this was appropriated by the early yaoi
authors.]

[Since 2000, Keiko Takemiya has taught at Kyoto Seika University's Faculty of
Manga and is its current dean]

Links: Manga design by Masanao Amano, Julius Wiedemann, 2004

Yukio Mishima (1925–1970) Japan. novelist, dramatist, and essayist 952

	The sexuality, eroticism, and fascination with the body that
	characterize much of Mishima’s literary work are also clearly
	discernible in his life. He was a vocal critic of the consumerism
	that he believed had polluted Japan and led to the loss of
	traditional samurai virtues. Mishima felt that the Japanese
	"salaryman," the archetypal emblem of postwar masculinity, had
	become effeminate, and he invested a great deal of effort in
	bodybuilding in pursuit of his own perfect masculine body. He was
	later to write about the transformation of his body from that of an
	effete intellectual to a man of action in the homoerotically charged
	Taiyo to tetsu [Sun and Steel] (1968).

	Mishima’s exhibitionism was notorious; he appeared dressed in a
	fundoshi (traditional loincloth) in several photo albums extolling
	the beauty of the male form, including Bara-kei [Ordeal by Roses]
	(1963) and Taido [The Way of the Body] (1967). He also starred in
	macho roles in a number of gangster movies. Despite marrying and
	fathering two children, as was expected of a man of his class,
	Mishima had strong homosexual inclinations. He was attracted to
	members of the working classes, particularly manual laborers, who
	feature as objects of desire in several of his novels.


	His own death was anticipated by two graphically depicted seppuku
	scenes in the short story Yukoku [Patriotism] (1966) and in the novel
	Homba [Runaway Horses] (1969).

	Kamen no kokuhaku [Confessions of a Mask] (1949) is a
	semi-autobiographical work in which Mishima writes of his discovery
	of masturbation, brought about by his coming across Guido Reni’s
	painting of St. Sebastian pierced by arrows. In the novel he speaks
	of his incipient desire for the night-soil collector, whose job it
	was to clean out the latrines, and of his sadistic fantasies where
	"young Roman gladiators offered up their lives for my amusement"
	and a naked schoolmate was served up to him on a plate.  Scenes of
	necrophilia were to recur throughout his later fiction.

	Images of sex, death, and the body’s animal functions are common. _Ai
	no kawaki_ [Thirst for Love] (1950) describes the passion a rich
	young widow feels for a local farmhand. When she observes him
	cavorting at the local shrine festival clad only in a loincloth, she
	frenziedly scratches his back with her nails. Yet, when he responds
	to her advances, she panics and kills him with a scythe.

	For Mishima beauty was something terrible, a force that could consume
	and annihilate the lover. This theme is dealt with metaphorically in
	Kinkakuji [The Temple of the Golden Pavilion] (1956), in which a
	young priest, driven mad by the beauty of the temple, burns it down.

	On November 25, 1970, Mishima and a group of followers from the
	Shield Society stormed the office of the commander-in-chief of the
	Self-Defense Forces in an attempt to convince him to support
	Mishima’s demand for constitutional reform that would allow Japan to
	rearm and restore the full rights of the emperor. When it became
	clear that the attempt had failed, Mishima committed ritual suicide
	by cutting open his belly, while his second in command, reputedly his
	lover, decapitated him with a samurai sword. Mishima’s suicide struck
	most Japanese as a perversely anachronistic gesture, coming as it did
	on the eve of Japan’s most spectacular period of growth and
	prosperity.  Today, Mishima remains a controversial and slightly
	embarrassing figure in Japan. Over thirty years after his suicide,
	the gruesome circumstances of his death that mirror so closely scenes
	described in his novels still make it difficult to disentangle
	Mishima’s life from his art.  	   - Mark Mclelland

Contents

Abe´lard and He´loı¨se
Abu Nuwas, al-Hasan
Acker, Kathy
Admirable Discourses of the Plain Girl
African Languages: Algeria (Mahgreb)
African Languages: Tunisia (Mahgreb)
Agustini, Delmira
Alas, Leopoldo
Albert-Birot, Pierre
Alcripe, Philippe d’
Amaru
Amis, Martin
Andreev, Leonid
Angel, Albalucı´a
Anticlericalism
Aphrodisiacs
Apollinaire, Guillaume
Apuleius
Arabic: Middle Ages to Nineteenth Century
Arcan, Nelly
Aretinists
Aretino, Pietro
Argens, Jean-Baptiste de Boyer Marquis d’
Art of the Bedchamber Literature
Artaud, Antonin
Artsybashev, Mikhail
Ashbee, Henry Spencer
Auden, W.H.
Autobiography of a Flea
Avantures Satyriques de Florinde, Les

Babel, Isaac Emmanuilovich
Bai, Xingjian
Balzac, Honore´ de
Ban, Jieyu
Barbey d’Aurevilly, Jules-Ame´de´e
Bataille, Georges
Baudelaire, Charles Pierre
Be´alu, Marcel
Beauvoir, Simone de
Beckford, William
Belen (Nelly Kaplan)
Belot, Adolphe
Be´ranger, Pierre Jean de
Berg, Jean[ne] de
Bestiality
Bi Yu Lou [The Jades Pavilion]
Blasons du Corps
Blessebois, Pierre Corneille
Boccaccio, Giovanni
Bonaventure des Pe´riers
Bonnetain, Paul
Book of Odes [Shih-Ching]
Borel, Pe´trus
Boullosa, Carmen
Bourgeade, Pierre
Bousquet, Joe´
Brantoˆme, Pierre de Bourdeille Seigneur de
Brazil
Breast, The
Bright, Susie
Bukowski, Charles
Burroughs, William S.
Burton, Sir Richard F.
Byrd II, William

Cabinet Satyrique, Le
Cabrera Infante, Guillermo
Calaferte, Louis
Caldwell, Erskine
Califia, Pat
Calvino, Italo
Cao, Xueqin
Carew, Thomas
xxvii
Carter, Angela
Casanova, Giacomo Girolamo
Catalan
Catullus
Cavafy, Constantine
Caylus, Anne Claude Philippe de
Cervantes Saavedra, Miguel de
Champsaur, Fe´licien
Charras, Pierre
Chaucer, Geoffrey
Chekhov, Anton
Chevrier, Franc¸ois Antoine
Chikamatsu Monzaemon
Child-Love
Choiseul-Meuse, Fe´licite´ de
Choisy, Franc¸ois-Timole´on, Abbe´ de
Chopin, Kate
Chorier, Nicolas
Christian, M.
Clark, David Aaron
Cleland, John
Cocteau, Jean
Cohen, Albert
Cohen, Leonard
Colette, Sidonie-Gabrielle
Colle´, Charles
Collected Writings of Fragrant Elegance
Colleton, John (Robert Walker Marks)
Confession and Guilt
Cooper, Dennis
Corneille, Pierre
Corta´zar, Julio
Cotton, Charles
Cre´billon, Claude Prosper Jolyot de
Crevel, Rene´
Crisp, Quentin
Cros, Charles
Cuisin, P.
Cyrano de Bergerac (Savinien de Cyrano)
Czech

Dacre, Charlotte
Daimler, Harriet (Iris Owens)
Damours, Louis
Dandurand, Anne, and Claire De´
Defoe, Daniel
Deforges, Re´gine
Dekobra, Maurice
Delany, Samuel R.
Deleuze, Gilles and Felix Guattari
Delicado, Francisco
Delteil, Joseph
Deng Xixian
Dengcao Heshang Zhuan [The Candlewick Monk]
Denon, Vivant
Depestre, Rene´
Desforges
Desnos, Robert
Di Giorgio`, Marosa
Di Nota, David
Di Prima, Diane
Diski, Jenny
Djebar, Assia
Don Juan
Donne, John
Dorat, Claude-Joseph
Dostoevsky, Fedor
Douglas, Norman
Drama
Du Bellay, Joachim
Du Camp, Maxime
Du Fail, Noe¨l
Du Laurens, Henri-Joseph
Dube´, Jean‐Pierre
Duchamp, Marcel
Duras, Marguerite
Dustan, Guillaume
Dutch
Duvert, Tony

E.D.
Egyptian Love Poetry, Ancient
Eliade, Mircea
Eltit, Diamela
Eluard, Paul
Eminescu, Mihai
English: United Kingdom, Seventeenth Century
English: United Kingdom, Eighteenth Century
Epigrams and Jests
Ernaux, Annie
Eros
Erotic Asphyxiation
Esquivel, Laura
Essays: Non-Fiction
Etiemble, Rene´
Exeter Book Riddles, The
Exoticism

Fabert, Guillaume
Fabliaux
Fabulas Futrosoficas, o la Filosofıa de Venus en Fabulas
Fairy Tales and Eroticism
Faulkner, William
Feminism: Anti-Porn Movement and Pro-Porn Movement
Ferrater, Gabriel
Ferre´, Rosario
Field, Michel
Fielding, Henry
Flaubert, Gustave
Fougeret de Monbron, Louis Charles
Fowles, John
Franklin, Benjamin
French: Seventeenth Century
French: Eighteenth Century
French: Nineteenth Century
French Canadian
French Up to the Renaissance, Including the Middle Ages
Friday, Nancy
Fritscher, Jack
Furniture

Garcı´a Lorca, Federico
Garcı´a Ma´rquez, Gabriel
Gaucle`re, Yassu
Gautier, The´ophile
Gay (Male) Writing
Ge Hong
Gender
Genet, Jean
George, Stefan
German: Twentieth and Twenty-First Centuries
Gervaise de Latouche, Jean Charles
Ghazali, Mehemmed
Gide, Andre´
Gilgamesh
Gimferrer, Pedro
Ginsberg, Allen
Godard d’Aucour, Claude
Gombrowicz, Witold
Govardhana
Grainville, Patrick
Grandes, Almudena
Grandval, Franc¸ois-Charles Racot de
Grass, Günter
Gray, Alasdair
Greek Anthology
Greek: Modern
Greek, Ancient: Prose
Greek, Ancient: Verse
Grisette
Guaman Pomo de Ayala, Felipe
Gue´rin, Raymond
Guibert, Herve´
Guido, Beatriz
Guille´n, Nicola´s
Gulliver, Lili
Guyotat, Pierre

Hainteny (Madagascar)
Haitian Literary Eroticism
Hall, Radclyffe
Harris, Frank
Hawkes, John
Hawkesworth, John
Hawthorne, Nathaniel
Haywood, Eliza
Hecht, Ben and Bodenheim, Maxwell
Hermaphroditism
Herrgott, Elisabeth
Herve´, Ge´rald
Histoire d’I
Houellebecq, Michel
Huang
Huneker, James Gibbons
Hungarian
Huysmans, Joris-Karl
Hyvrard, Jeanne

Ibn al-Hajjāj
Ibn Hazm
Ihara Saikaku
Ilhan, Attila
Ireland
Iriarte, Toma´s de
Istaru´, Ana

Jahiz, al-
Japanese: Medieval to Nineteenth Century
Japanese: Twentieth and Twenty-First Centuries
Jaya deva
Jaye Lewis, Marilyn
Jelinek, Elfriede
Jewish Erotic Literature
Jin Ping Mei [Plum in the Golden Vase] and Gelian
    	Huaying [Flower Shadows behind the Curtain]
Jingu Qiguan [The Oil Vendor Who Conquers
 	the Queen of Beauty]
Joanou, Alice
Jong, Erica
Jouhandeau, Marcel
Jouissance
Joyce, James
Junnosuke Yoshiyuki

Kalyana Malla
Kāmasūtra
Kamenskii, Anatolii
Kessel, Joseph
Kharjas
Kirkup, James
Klossowski, Pierre
Koka Pandit
Kuprin, Alexander
Kuzmin, Mikhail

L. Erectus Mentulus (Lupton Allemong Wilkinson)
La Fontaine, Jean de
La Mettrie, Julien Offray de
La Morlie`re, Jacques Rochette de
La Puttana Errante
La Souricie`re; or The Mouse‐Trap
Labe´, Louise
Laclos, Pierre Choderlos de
Laferrie`re, Dany
Latin: Prose Fiction
Latin: Verse
Laure (Colette Peignot)
Lawrence, D.H.
Le Petit, Claude
Le´autaud, Paul
Leduc, Violette
Legman, Gershon (G. Legman, Roger-Maxe de la Glannege)
Lely, Gilbert
Lesbian Literature
Le´veille´, J.R.
Lewis, Matthew Gregory
Li Yu
Libertinism
Libraries
Lorrain, Jean
Lorris, Guillaume de and Jehan de Meung
Louys, Pierre
Lu Dongbin
Lu T’iancheˆng
Lunch, Lydia
Lustful Turk, The

MacOrlan, Pierre
Madness
Mahabharata
Manga
Mann, Thomas
Mannoury d’Ectot, Marquise de
Mansour, Joyce
Mao Xiang
Mara
Marguerite de Navarre
Marlowe, Christopher
Martin du Gard, Roger
Martorell, Joanot
Masturbation
Matsuura Rieko
Matzneff, Gabriel
Maupassant, Guy de
Meaker, Marijane (Ann Aldrich and Vin Packer)
Mechain, Gwerful
Mele´ndez Valde´s, Juan
Meltzer, David
Me´moires du Baron Jacques, Les
Mende`s, Catulle
Mesopotamian, Sumerian and Akkadian
Metamorphosis
Meusnier de Querlon, Ange Gabriel
Midnight Rambler: or, The Adventures of Two Noble Night-Walkers
Miller, Henry
Millet, Catherine, and Jacques Henric
Millot, Michel, or Jean L’Ange
Minut, Gabriel de
Mirbeau, Octave
Mishima, Yukio
Mistral, Gabriela
Mogador, Ce´leste
Moix, Terenci
Molloy, Sylvia
Monk, Maria
Monsters
Montero, Mayra
Moratı´n, Nicola´s Ferna´ndez de
Moravia, Alberto
Murasaki Shikibu
Musset, Alfred de
Mysticism and Magic

Nabokov, Vladimir
Nafzawı, al-
Nashe, Thomas
Necrophilia
Nedjma
Nerciat, Andre´a de
Nin, Anaı¨s
Noel, Bernard
Nosaka Akiyuki
Nougaret, Pierre
Nouveau Parnasse Satyrique du Dix-Neuvieme Sie`cle, Le
Nunnery Tales

Obayd-e Zakani
Ocampo, Silvina
Ogawa, Yoˆko
Olesha, Yury Karlovich
Olympia Press
Orgy
Ovid
Ovidian Verse

Pallavicino, Ferrante
Panero, Leopoldo Marı´a
Paz, Octavio
Pedophilia
Pe´ladan, Jose´phin
Perceau, Louis
Peri Rossi, Cristina
Persian
Persian: Medieval Verse
Persian: Verse Romance
Petronius Arbiter
Philosophy and Eroticism in Literature
Pierre, Jose´
Pierrot
Pigault-Lebrun, Charles
Piron, Alexis
Pizarnik, Alejandra
Platonov, Andrei
Poggio
Pornography
Positions
Potter, William Simpson
Pougy, Liane de
Pritchard, Mark
Private Case
Prostitution
Pulp Fiction
Pushkin, Aleksandr

Queer Theory
Queneau, Raymond

Rabelais, Franc¸ois
Race, Racism, Miscegenation, Race-Baiting Literature
Rachilde
Radiguet, Raymond
Ramayana
Reader Response
Re´age, Pauline
Rebatet, Lucien
Rebell, Hugues
Rebreanu, Liviu
Rechy, John
Reich, Wilhelm
Religious Sexual Literature and Iconography
Renault, Mary
Restif de la Bretonne, Nicolas
Reveroni Saint-Cyr, Jacques Antonie
Rhetoric
Rice, Anne
Richardson, Samuel
Rimbaud, Arthur
Robbe-Grillet, Alain
Rocco, Antonio
Rojas, Fernando de
Romanian Erotic Literature
Ronsard, Pierre de
Roque´, Ana
Rossetti, Anna
Roth, Philip
Ruiz, Juan
Russian

Sacher-Masoch, Leopold
Sade, Marquis de
Sado-Masochism
Sadoveanu, Mihail
Sale, Antoine de la
Salten, Felix
Samaniego, Fe´lix Marı´a de
Sa´nchez, Luis Rafael
Sarduy, Severo
Sartre, Jean-Paul
Scandinavian Languages
Schnitzler, Arthur
Science Fiction and Fantasy
Seduction
Sei Shoˆnagon
Selby, Hubert, Jr.
Sellon, Edward
Sewall, Robert
Sex Manuals
Sexology
Sexual Alchemy Literature, Chinese
Shakespeare, William
Shanqing Huangshu Guuoduyi [Yellow Book
	Salvation Ritual of Highest Purity]
Shibusawa, Tatsuhiko
Short Story, French
Short Story, Spanish‐American
Shulman, Alix Kates
Slash Fiction
Sodomy
Sollers, Philippe
Sologub, Fedor
Somatopia
Song of Songs, The
Sorel, Charles
Southern, Terry and Mason Hoffenberg
Spenser, Edmund
Stendhal
Stretzer, Thomas
Sun Wei
Surrealism
Susann, Jacqueline
Suyūtī, Jalāl al-Dīn al-
Swinburne, Algernon C.
Szuˆ-ma Hsiang-ju

Taboos
Tang Yin
Taxil, Le´o
Temple d’Apollon, Le
Tencin, Claudine
Thai Erotic Literature
Thanatos
Theatre Erotique de la Rue de la Sante´, Le
Theocritus
The´otokis, Constantinos
The´riault, Yves
Thomas, D.M.
Thousand and One Nights, The
Tifashi, al- [Tīfāshī, al-]
Transgression
Translation
Transvestism
Trigo, Felipe
Trocchi, Alexander
Turgenev, Ivan
Tusquets, Esther
Twain, Mark
Tynan, Kenneth

Ueda Akinari

Vailland, Roger Franc¸ois
Valde´s, Zoe´
Valenzuela, Luisa
Vallejo, Fernando
Vargas Vila, Jose´ Marı´a
Vassi, Marco
Vega, Ana Lydia
Venereal Disease
Venus dans le Cloıtre [Venus in the Cloister]
Verlaine, Paul
Verville, Be´roalde de
Vian, Boris
Viau, The´ophile de
Vignali, Antonio
Villena, Luis Antonio de
Villon, Franc¸ois
Virginity
Vivien, Rene´e
Voisenon, L’Abbe´ de
Voltaire

Walter, Anne
Ward, Edward
Wedekind, Frank
Welsh Erotic Literature
Wharton, Edith
Whitman, Walt
Wilde, Oscar
Willy (Henri Gauthier-Villars)
Wilmot, John, Second Earl of Rochester
Wittig, Monique
Women’s Magazines
Women’s Writing: Anglophone, 20th Century
Women’s Writing: French, 20th Century
Women’s Writing: Latin American, 20th Century

Xavie`re

Yamada, Amy
Yaohu Yanshi [The Voluptuous History of Fox Demons]
Yaoi
Yasunari Kawabata
Yeats, William Butler

Zayas, Marı´a de
Zhang Zu
Zhaoyang Qu Shi
Zhulin Yeshi [Unofficial History of the Bamboo Grove]
Zille, Heinrich
Zinov’eva-Annibal, Lidiia Dmitrievna
Zola, Emile

Non-Western cultures

The encyclopedia has very broad coverage of English and French texts, and
also deals with Russian German, Italian etc. but also compiles many topics
from the non-western cultures.

Africa (4):
    Djebar, Assia; Egyptian: Love Poetry, Ancient; Hainteny (Madagascar);
    Nedjma, L’Amande;)
    plus essays on African Languages: Algeria (Mahgreb); African Languages:
    Tunisia (Mahgreb)

Arabia (10)
    al-Hasan Abu Nuwas, (Arab poet, c. 747–815);
    Ibn al-Hajjaj; Ibn Hazm; Jahiz, al-; Nafzawi, al-;
    Obayd-e Zakani; Persian: Verse Romance; Suyutı, Jalal al-Dın al;
    Thousand and One Nights, The; Tifashi, al-;

    also, long essays on Arabic: Middle Ages to Nineteenth Century; Persian:
    Medieval Verse; Persian

Chinese (31)
   Admirable Discourses of the Plain Girl;
   Art of the Bedchamber Literature;
   Bai, Xingjian; Ban, Jieyu; Bi Yu Lou [The Jades Pavilion]; Book of Odes
   [Shih-Ching]; Cao Xueqin; Collected Writings of Fragrant Elegance; Deng
   Xixian; Dengcao Heshang Zhuan [The Candlewick Monk]; Ge Hong; Huang; Jin
   Ping Mei [Plum in the Golden Vase] and Gelian Huaying [Flower Shadows
   behind the Curtain]; Jingu qiguan [The Oil Vendor Who Conquers the Queen
   of Beauty]; Li Yu; LüDongbin; LüT’ian-cheˆng; Mao Xiang; Sexual
   Alchemy Literature, Chinese; Shanqing Huangshu Guuoduyi [Yellow Book
   Salvation Ritual of Highest Purity]; Sun Wei; Szuˆ-ma Hsiang-ju; Tang Yin;
   Yaohu Yanshi [The Voluptuous History of Fox Demons]; Zhang Zu; Zhaoyang Qu
   Shi;Zhulin Yeshi [Unofficial History of the Bamboo Grove]

India (8)
   Amaru (8th c.)
   Govardhana; Jayadeva: Gitagovinda; Kalyana Malla: Ananga Ranga;
   Kamasutra; Koka Pandit; Mahabharata; Ramayana

Japan (14)
   Chikamatsu Monzaemon; Ihara Saikaku; Junnosuke Yoshiyuki; Matsuura Rieko;
   Mishima Yukio; Murasaki Shikibu; Nosaka Akiyuki; Ogawa Yoko; Sei Shonagon;
   Shibusawa Tatsuhiko; Ueda Akinari; Yamada, Amy; Yaoi; Yasunari Kawabata

   also, essays on Manga, Japanese: Twentieth and Twenty-First Centuries;
   Japanese: Medieval to Nineteenth Century

other non-European articles:
    Turkish: Ghazali, Mehemmed Ilhan, Attila;
    Thai Erotic Literature;
    Latin America (16)