True Secrets of Lesbian Desire: Keeping Sex Alive in Long-Term Relationships

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If you do not have a society account or have forgotten your username or password, please contact your society. I was frankly shocked to see the sexual liberation of my generation become the next generation’s raunch culture, Girls Gone Wild. The revival will feature series regulars Beals, Kate Moennig and Leisha Hailey who are reported to be taking roles as executive producers along with Chaiken, who was the creative force behind the series. Striving to clarify what’s crucial to my lesbian reality, to articulate my desire in and of lesbian theory, I myself have defined lesbian Desire, but I am not yet, and may never be, entirely satisfied by (any) theory of Desire.

That’s one of the reasons why the worlds we are writing about in these books matter so much, why it feels so important that they not be forgotten. Stendhal shows that sex is the natural and continuous outcome of a closeness generated by bold honesty and the capacity to speak and hear intimate secrets. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.Renate Stendhal: I had been looking for years for a book that would recapture that first discovery of women’s condition as the “second sex” (Beauvoir) and as “colonized people” (as French feminists put it). Weil : The irony in this, and it’s an irony that deeply informs my book, is that when it came to loving women I didn’t have a clue. Based on the recurring theme of an exploration of love that is replete in its anonymity and wistful yearning, this article will discuss how WLW films are not just about Victorian corsets. They – and, vicariously, we – enjoy the spoils and spaces of their wealth: desirable homes, trendy cafes, quality restaurants, art galleries, designer clothes and cars, and time for affairs and intrigues.

The characters did include men and straight women, but they were peripheral, reversing the tradition of the token lesbians who had previously appeared in mainstream television shows such as Friends. Their sex life is nonexistent and in part we begin to understand why; it’s because where intimacy once was now lies resentment—like a third person in the bed between them. The director Céline Sciamma essentially reworks the tale of Orpheus and Eurydice as a queer feminist love story. There’s also an underlying reference to impotence by Count Fujiwara where he quips about the penis still being intact before death outlining the gender politics of the film. Society tells us to look and act and be a certain way, and even if our attitude is Fuck that sexist crap, we’ve still internalized it.With over 6 million of the world’s best eBooks to choose from, Kobo offers you a whole world of reading.

To describe just one way that lesbian Desire operates in literary texts entails teasing (a) theory directly from the texts themselves, and I do seek to connect—at least in theory—the often divergent realities of (lesbian) words and deeds, coincidentally suggesting some ways we lesbians enact our Desire(s) in the world. How can any presumably precise word or fixed sign (re)present this active Desire, which by my own definition denotes that which eludes concreteness or permanence? Dorothy Arzner's The Wild Party (1929) has been reclaimed for a lesbian cinematic canon, but it is only relatively recently that scholars have engaged more directly with the homoerotics of Arzner's films, and the question of the representability of female homosexuality in late 1920s Hollywood classical cinema.If, as Patricia White has convincingly claimed, the representation of female homosexuality in Hollywood film is more often veiled by ‘the public sexualization of the female body’, then in the case of The Wild Party it is the excessively feminine and kinetic bodies of the flapper that screen – that is, both project and hide from view – lesbian desire as a new form of cinematic knowledge and pleasure. Among its many accolades, The Handmaiden was in competition for the Palme d’Or at the 2016 Cannes Film Festival, and won the 2018 BAFTA Award for Best Film Not in the English Language.

Queering the Renaissance, edited by Jonathan Goldberg, Michèle Aina Barale, Michael Moon and Eve Kosofsky Sedgwick, New York, USA: Duke University Press, 1994, pp. Adventures, affairs, being outrageous, daring to play: this part of liberation began to reveal its limitations. The L Word clique were members of the “acceptable-privileged” – all were in one way or another working in the creative or entertainment and leisure industries. She has published several books, including Sex and Other Sacred Games and the award-winning photobiography, Gertrude Stein in Words and Pictures. For me, desire had always been there in the form of unfulfilled yearning and pining and crushes for women (and girls when I was a girl).Since all textuality comprises the situation and interpretation of signs, 7 we may approach the specific matter of lesbian sexual Desire by asking what writing of lesbians-Desiring exhibits the most blatant reliance on (a) semiotic context. This amount includes seller specified domestic postage charges as well as applicable international postage, dispatch, and other fees. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. We honour Aboriginal and Torres Strait Islander peoples' continuous connection to Country, waters, skies and communities. Think more rebel yell than reboot”, generated much excitement – as did postings confirming the news from other cast members and the series original showrunner, Ilene Chalken.