By Baldassare Castiglione
An insider's view of court docket existence and tradition in the course of the Renaissance, here's the handiwork of a 16th-century diplomat who used to be referred to as upon to solve the variations in a struggle of etiquette one of the Italian the Aristocracy. the last word source on aristocratic manners, it continues to be the main definitive account of existence one of the Renaissance the Aristocracy.
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Extra info for The Book of the Courtier (Dover Value Editions)
70 ‘Paraesthesia’ subdivided into Sadism, Masochism, Fetishism and Antipathic Sexuality, Classical to Medical 29 or the total absence of feeling towards the opposite sex (what Freud called ‘absolute inverts’ in ‘The Sexual Aberrations’). Krafft-Ebing then further subdivided antipathic sexuality into different manifestations and characteristics. Androgyny-gynandry was his appellation for the individual who possesses the secondary sexual characteristics of the sex with which he identifies, as was the case with Lind (in the book’s photographic illustrations, a plumpish man with the appearance of breasts), but the binomial term indicates that androgyny is the provenance of the womanly man (as Lind understands it), gynandry the provenance of the manly woman.
210–11) Freud’s trajectory in this essay takes him from the mythological emblems of androgyny which symbolise the pre-Oedipal boy’s unconscious phantasy and assumptions regarding the phallic mother, to the development of a narcissistic homosexuality, to the sublimated representation of that homosexuality in an art that returns the artist Classical to Medical 27 to depicting an androgynous figure that had also (though in a different embodied shape) constituted his earlier phantasy. Leonardo’s imagining of the androgynous/hermaphrodite mother leads Freud to see it enacted in his paintings of Leda, St John the Baptist and Bacchus, his art a projection of an androgynous and repressed psychic disposition.
P. 111) The condition of androgyny is, in this instance, one of bare possibility, noumenal, intuited; the androgyne is a fleeting figure without content, a spectre caught in a passing glance. The narrator names the androgyne only as the barely glimpsed liminal condition in which the masculine and the feminine momentarily coexist. What the nature of that transitional embodiment might be is, tantalisingly, never disclosed, as though it must operate outside, rather than constitute, the transgressive sexual space that Des Esseintes both controls and is controlled by.
The Book of the Courtier (Dover Value Editions) by Baldassare Castiglione