Here is the full text article debtor the name of the blog.
This article was published in the magazine Mexico University, No. 612, June, 2002 (UNAM, Mexico, DF) --------------------------- ---
If we start from the point of view appears more regularly in speeches about "pornographic" has structured the contemporary Western world, and we take a quick look no further objection to the object image these brief notes, most likely our ability taxonomic immediately place it in the traditional repertoire of female subjugation and domination that apparently is associated with any sexually explicit production consumed by a male population. While it is undeniable much of this production, especially from the 70, shares these characteristics, in many cases is to include these parameters in the vast majority of "libidinal representations" (1) relying on a false objectification of "obscene."
restarted it, and let us back in our image.
This engraving "The Monsters and the Women's Water Diver ( loves to Kappa 河童 と 海女 ), part of the album of 12 pictures erotic" Lyrics head "( Utamakura 歌 枕) published in the year 1788, is one of the masterpieces of the famous Japanese artist Utamaro Kitagawa 喜 多 川 歌 麿 (1754-1806). Despite being famous for its pictures of beautiful women, Utamaro, like most good illustrator of ukiyo-e 浮世 絵 (2) made in the last stages of his life numerous works sexual nature, a subject which is known as Makura-e 枕 絵 (or pictures of header). This album in particular Utamakura , stands among the most successful of the large and varied production open pictures with sexual content that was held in Japan over 250 years, our part in question being one of the most interesting examples.
is common opinion that this document is presented to a woman diver while watching his girlfriend is raped in the sea (3) , but resources are too obvious that the author uses to give us a totally different reading.
Sitting on a mossy rock washed by the surging waves of the sea, we see the figure of a woman diver ( loves ), one of many who were dedicated to the collection of marine bivalves for marketing and consumption. This work was traditionally played by women, who were tied to a tree trunk floating in the water were immersed in the pursuit of these molluscs. Our character
involves us in an atmosphere of sensuality stimulated by the very nature of their representation (4) : gently resting on the surface of the rock with her hair loose over her shoulders showing us her breasts, her figure, wrapped in a red cloth shines its soft contours, and his right leg, that when raising her dress slips inadvertently, reveals his thigh and gives us access to their sex. To accentuate the erotic charge, we see by the dips a basket full of bivalves ( kai 贝), the type known as abalone in Japan in the seventeenth and eighteenth centuries (the period in which this work is performed) was commonly associated with female genitalia, a detail that helps to increase the overtly sexual the image.
But the dip is alarmed about the fate of his partner?, Are there to defend it from such evil?, "Shows its face horror and suffering to such acts? Its quiet position, her face calm, his gaze absorbed and mouth in ecstasy rather lead us in other directions: ... to the realm of dreams. Of course our hero is experiencing a sexual fantasy recherche parameters in which two kappa (5) prepare to extort favors that she apparently offers us through the curves of your thighs while resting on the rock.
illustrator Expertise provides other elements consistent with this interpretation of the dream of the nozzle. We appreciate this violent scene through the veil that weave delicate waves, the veil that obscures the vision we dive into this madness that is demarcated by a strong diagonal that separates us from these two worlds of "desire" reality. " The use of concealment is a very characteristic of this visual production (6) where constantly plays with the viewer's imagination to complete what is not explicit and therefore intensify the eroticism of their own senses of the consumer, that after all was one of the basic functions of these images. On the other hand, the dynamism of the rape scene, but the fabric of hair algae and undulating (or browse) for the site, add confusion and opacity that are combined in this woman's sexual imagery.
Finally, of course if makura-e it could not miss the humorous touch which is incorporated here in these little fish that venture quickly not to miss the show, booking front row tickets. The voyeur or peeping Tom is a character that appears repeatedly in these pictures and that in some way involves audience participation and provides (along with other resources) the multiplicity of viewing angles.
I think with the brief statement above shows that it is not a contemplation of a violation but rather a mental recreation of it. Now we have evidence that such prints were also consumed by a female audience (7) . Examples are some catalogs sex toys for women, as well as some pictures of women using pictures for self-stimulation sexual. As pictured is a female fantasy performed by non-human beings and where the weight of desire is greater than the physical act, would it be possible to be a fantasy aimed at a female audience? It could be, and contribute much to a reading of these works, but we can not reject the alternative of being not an invention of men and designed to legitimize male desire, as we mentioned in the first paragraph of these notes, transfigured into a dream women. Or is it the fantasy of the artist?
We are going round in circles, our dualism is broken, we should return to principle in our analysis ,......¿?...... or no.
NOTES 1. Term used by Timon Screech in Sex and the floating world. Erotic images in Japan, 1700-1820 . University of Hawai'i Press, Honolulu, 1999.
2. Urban-themed woodblock production that developed in Japan between the seventeenth and nineteenth centuries.
3. Example, Lane, Richard & Yoshikazu Hayashi 林 美 一. Etoranje erotikku. Edo does not shun - ihōjin mankai エトランジェ エロティック: 江戸 の 春 - 异邦 人 満 开. Kawade Shobo, Tokyo, 1998.
4. It is already known sexual nature that carries in itself the representation of women. In this regard, reviewing the study Talerico, Danielle. "Interpreting sexual imagery in Japanese prints: A fresh approach to Hokusai's 'Diver and Two Octopi'" in Impressions. No. 23. Ukiyo-e Society of America, New York, 2001. pp: 25-41.
5. Kappa : Character fantastic, sort of water monster that is characterized by a water fountain in the head, and make mischief.
6. About this resource see: Tanaka, Yūko 田中 优 子. "Shunga not kakusu - miseru" 春画 の 隠す 見せる in Ukiyo-e shunga wo yomu 浮世絵 春画 を 読む. Vol: I. Chūō Koron, Tokyo, 2000. pp: 87-162.
7. It is difficult to determine to what degree, although we can assume that its consumption was primarily male.
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