Seduction theory

The fact that media of modernity, especially cinema, literature and theater, soon had become the myth reservoir of modernity is not exactly a new idea to media-theoretical writings. Any way it is especially true for epic cinema such as the peplum films of Hollywood between the 1950s and today. Which definition of myth this is especially based on - because there are many - is yet to be clarified. It will not be possible to answer this question exhaustively in an essay like this, but it seems appropriate to outline some basic definitions and approaches to expand further on this idea.

Le désaccord entre psychanalystes sur la nature des pensées refoulées a ouvert la porte à des critiques radicales de la théorie qui définit et fonde la psychanalyse, la théorie du refoulement. Or, la diffusion du mouvement analytique n’a pas paru trop affectée par de telles objections. Il est possible d’éclairer cette relative imperméabilité en examinant comment une théorie auxiliaire, la théorie du complexe d’Œdipe, a permis à la psychanalyse de se développer et de durer, en lui faisant éviter plusieurs des réticences suscitées par les objections méthodologiques. Pour éclairer ce rôle, cette théorie est comparée avec la théorie de Freud qu’elle a remplacée, la théorie de la séduction. Ainsi, nous pouvons mieux cerner les conditions qui ont permis un accueil favorable de la psychanalyse dans les sociétés démocratiques contemporaines.

Öz Postmodern çağın önde gelen düşünürlerinden Jean Baudrillard, içinde bulunduğumuz milenyum çağının gerçekliğini kaybettiğini ve yapaylığın hâkim olduğu bir dünyada yaşadığımızı ifade eder. Baudrillard'ın simülasyon kuramı ile temellendirdiği bu durum, gerçeğin simülakrlar aracılığı ile gösterge, imaj ve kodlara dönüşmesi ile ifade edilir. Hiper-gerçek olanın hâkimiyeti, düşüncenin ve gündelik yaşantının bütün alanlarında metastaz şeklinde yayılmaktadır. Baudrillard, şeylerin simülakr'a dönüşümünü ifade etmek için ve modern hayatın cazibesini pazarlayan bir olgu olarak "ayartma" kavramını öne sürer. "Ayartma", gerçeğin gücünü elinden alarak anlamın buharlaşmasına sebep olan bir eylem biçimidir. Bu makalede, genel hatlarıyla simülakrlar ve simülasyon kuramının tanımı, içerik ve tarihçesi, Baudrillard'ın simülasyon kuramı çerçevesinde "ayartma" kavramını nasıl tanımladığı, ayartmanın cinsellik, politika, sibernetik gibi olgular üzerindeki yoğun etkisi, ayartmanın bir formu olan gözaldatım özelliği, ayartmanın sınırları ele alınacaktır. Ayrıca Baudrillard'ın "ayartma" kavramını temellendirirken, ayartan ve ayartılanın, özne ve nesnenin karakterini ortaya çıkartan Kierkegaard'ın ayartma kavramını nasıl ele aldığına da değinilecektir.

Eroticism has been the long practices in seduction. Various well known seductress have use eroticism in seduction which involves the use of eye, voice, body movement, chant, enchantment, and incense, oil and wax, paraffin, petroleum jelly, perfume, acts, letters, images and symbols.

Como Conquistar Uma Amiga Passo-A-Passo. Esta é uma das perguntas mais recorrentes nos e-mails e comentários que recebo todos os dias. O tempo todo há um cara interessado em saber como conquistar uma amiga. Descubra agora 5 dicas poderosas para conquistá-la sem perder a amizade. E se você se identificar com alguma das fotos publicadas neste artigo é porque muito provavelmente você está na Friend zone. A maioria dos homens já ouviu a famosa frase: " vamos ser apenas amigos ". Quando a mulher diz que quer ser somente sua amiga, ela quer dizer nas entrelinhas que não sente qualquer atração por você, ou seja: não te vê como um homem para se relacionar. O problema não está nela e nem em você, significa apenas que você se comporta como um amigo, o que é muito frustrante principalmente quando se está apaixonado. Mas porque isso ocorre? Como Pegar Uma Amiga: Entenda O Processo Da Sedução Antes de seguir em frente e para que aprenda Como Pegar Uma Amiga eu quero que você entenda três questões importantes sobre as mulheres: 1. A atração pelo homem ocorre através de uma comunicação sexual a nível inconsciente, ou seja, ela não escolhe por quem se sentir atraída. 2. Um homem desperta atração na mulher muito mais pelas suas atitudes do que por palavras, por isso é que você deve aprender a agir da forma correta. 3. Compreender o processo da conquista fará toda a diferença no relacionamento com sua amiga ou com qualquer outra mulher, isso é garantido! O processo da conquista ocorre em 3 fases, que são: Fase da Atração Fase do Conforto Fase da Sedução A fase da atração é aquela que ocorre a partir do primeiro contato quando você se aproxima e puxa conversa. É a sua abordagem e a forma como você se comporta neste momento que vai gerar nela o interesse por você. Na fase seguinte, você deve gerar conforto () estabelecendo um nível maior de conexão – inclusive emocional-, com ela. O problema é que, é nesta etapa que a maioria dos caras estaciona. São aqueles que conseguem passar pela fase do conforto os que geralmente seduzem e pegam mulheres. Veja mais em: http://segredosdaseducao.net/como-pegar-uma-mulher

"Abstract:
Ovid's "Ars Amatoria" is meant to offer a true recantation of amor, a palinode of love that includes an apology of poetry. Palinode and apology have become necessary and urgent, for Ovid, for two reasons, which offer a double challenge.
The first challenge comes from the love poetry by his contemporaries. Elegy is lament, protest, recrimination, regret. Occasionally praise, it morphs, more
often, into blame. Supposedly intended to convey erotic passion and impatience for pleasure, it turns into an intermittent profession of pain.
The second challenge comes from the carmina of Lucretius. In those carmina,both love and poetry are crucial, and yet highly problematical, because both, poetry and love, undermine the project of an unrelenting argument on behalf of reason. Passion and fiction are a threat. The philosophical effect of such a critique is immense and terrifying.

I will set out to outline the discord between anti-erotic ratio and ars amatoria. I will then be in a position to provide a panoramic view of Ovid’s work. Ovid’s poetry, I will argue, is philosophy, the musical thinking of a lover of myths, a philómythos who, as Aristotle would put it, was a sort of philosopher, philósophos."

L’influence sociale (ou pression sociale) est l'influence exercée par un individu ou un groupe sur chacun de ses membres, dont le résultat est d'imposer des normes dominantes en matière d'attitude et de comportement. Cette influence entraîne la modification des comportements, attitudes, croyances, opinions ou sentiments d'un individu ou d'un groupe suite au contact avec un autre individu ou groupe.

Comment alors parvenir à penser par soi-même et faire ce qu'on a VRAIMENT envie de faire ?

The ultimate consequence of pure seduction, platonic, virulent seduction, is self destruction.
Most women lack of the ability for de-structuring seduction. It involves the logical tooling of the brain by the pure forces of the heart and the will. At the peak of seduction, most women burn out, unable to reach the pure state of love. Love requires moral resilience against our attachment to our ego and its Lilliputian hedonistic pursuits. Morality is not a dogma against desire, but a prescription to manage its growth.

Stiglegger M. (2015) Die Seduktionstheorie des Films: John Ford im Spiegel kontinentaler Philosophie. In: Ritzer I. (eds) Classical Hollywood und kontinentale Philosophie. Neue Perspektiven der Medienästhetik. Springer VS, Wiesbaden

Mit John Ford widmet sich der Beitrag einem wichtigen Western-Regisseur, der das Classical Hollywood seit der Stummfilmzeit mit seinen Arbeiten geprägt hat. Er skizziert zunächst Fords Rezeption im Kontext der kontinentalen Philosophie, speziell bei den beiden deutschen Postadorniten Josef Früchtl und Martin Seel. Anschließend stellt er, aufbauend auf Überlegungen des Soziologen und Philosophen Jean Baudrillard, anhand von Fords klassischem Western Stagecoach (1939) das Modell einer seduktionstheoretischen Filmperspektive vor.

Der Endzeitfilm MELANCHOLIA liefert einen eindrücklichen filmischen Beweis für Lars von Triers Gespür, einen Film exakt zwischen der persönlichen Exzentrik des europäischen Autorenfilms und der exaltierten Melodramatik des Hollywoodkinos anzulegen und so weltweite Aufmerksamkeit zu generieren. MELANCHOLIA ist verführerisch – ein Verführung zum Untergang, eine Verführung zur Einfühlung in emotionale Verfassungen angesichts einer eigentlich zermürbenden Erkenntnis: Dass der Mensch schon immer alleine war im Universum, und dass keine Hilfe zu erwarten ist, wenn die Erde schließlich mit dem vergleichsweise gigantischen Planeten Melancholia verschmilzt und kein Leben übrig lässt. So finster diese Aussicht erscheinen mag, so still sich der Film diesem von Richard Wagners „Tristan-Akkord“  untermalten Ende mitunter nähert, so lustvoll scheint er den Zuschauer zu diesem Ereignis einzuladen.
Verführung ist stets ein vom eigentlichen Wege Abbringen – die ursprünglichen Überzeugungen aufzugeben zugunsten einer anderen, neuen Position, die man möglicherweise zunächst abgelehnt hat, die man für ‚abwegig’ hielt. Insofern ist das performative Spiel, das sich zwischen Lichtspiel und Zuschauer abspielt, per se ein Spiel der Verführung, die Entfesselung seduktiver Strategien. Der vorliegende Text möchte sich Lars von Triers Film aus dieser Perspektive nähern, MELANCHOLIA als seduktives Konstrukt erschließen und letztlich dessen Verführung zum Untergang verdeutlichen.

Das Medium Film arbeitet entweder mit Variationen klassischer Mythen (Orpheus, Ödipus, Sündenfall usw.) oder erschafft – im Sinne von Barthes – seine eigenen, medienspezifischen Mythen – oft verkörpert durch charismatische Protagonisten wie James Dean, Bruce Lee, Marilyn Monroe oder Romy Schneider. Gerade jene Stars, die früh oder unter mysteriösen Umständen sterben, eigenen sich zur Mythenbildung, da von ihnen nur mehr das Bild, das filmische Phantom bleibt und wie ein Fetisch verehrt werden kann. Die Protagonisten des Mythos werden oft als übernatürliche Wesen beschrieben, nimmt man aber die soziale Verflochtenheit des Mythos als gegeben an, kann man in diesen mythischen Wesen nur die Projektionen des Menschlichen in eine sakrale Form erkennen. Und wiederum qualifiziert sich die ›überlebensgroße‹ Qualität des Hollywoodkinos als mythentauglich.
Das Medium Film generiert also seinen eigenen Mythos und bietet seine eigenen ›übermenschlichen‹ Protagonisten auf. Es ist bereits von daher als Mythenträger geeignet, da es stets in einer relativen Gegenwart erlebt werden kann: Indem der Film immer neu gesehen wird, wird er für das Publikum zur genuinen, gegenwärtigen Erfahrung. Zugleich kreist der filmische Mythos um elementare und existenzielle Motive: Geburt, Leben, Tod, Sexualität, Gewalt, Angst, Freude, Hass, Glück usw. Es erweist sich als eher kontraproduktiv, den mythischen Gehalt des Films schlicht als »Regression« zu werten, wie es Heuermann unternimmt, oder gar den Mythos ganz allgemein als Angst- oder Feindbild des Denkens zu betrachten, wie man es gelegentlich in der linken Theorie beobachten kann. Im Gegenteil: Film und Mythos sind eng verwoben, letztlich kann man davon ausgehen, dass Film zunächst über den Mythos funktioniert bzw. im Herzen des Mediums der Mythos zu finden ist. Und wie die klassische Tragödie ihre Stoffe zu großen Teilen aus mythischen Urerzählungen und Gründungsmythen bezog, verweist die epische Kinoerzählung noch heute auf Elemente wie die Odyssee des Helden, das Martyrium, den Königsmord, die messianische Qualität eines Kulturgründers und das Pathos des individuellen Untergangs, der dennoch im Sieg der Gemeinschaft gipfeln kann.

Más allá del fárrago de los círculos psicoanalíticos y de los intentos poco cuidadosos por diferenciar  al niño del agua de la bañera, es importante señalar la especificidad del trayecto freudiano. El aporte del psicoanálisis a la concepción de la naturaleza humana reside en la extensión antropológica general de las bases del sufrimiento de las histéricas vienesas. Sin duda las pacientes de Freud pertenecían a un universo socio-cultural característico. Su situación era particularmente frustrante. La génesis de sus problemas podría describirse a partir de las características de la época y sería un punto de vista perfectamente legítimo. También se podría iniciar, como en el caso de la depresión,  una búsqueda del gen responsable de su labilidad, y nada excluye que se lo pueda encontrar. Sin embargo, eso no reforzaría ni invalidaría la teoría psicoanalítica. Ella se sostiene en un lugar completamente distinto.

Foreword, Jas' Elsner Introduction: pilgrimage and seduction in the Abrahamic tradition, Michael A. Di Giovine and David Picard Purity as danger? Seduction and sexuality at Walsingham, Simon Coleman The seductions of guiding: Jewish-Israeli tour guides on the Christian Holy Land pilgrimage, Jackie Feldman 'As if the road there is covered with honey': inquiries into the seductiveness of a Greek orthodox monastery in Arizona for Russian orthodox parish pilgrims, Julia Klimova The seductiveness of saints: interreligious pilgrimage sites in Hatay and the ritual transformations of agency, Jens Kreinath The seduction of the past in new age pilgrimage, Jill Dubisch Seduction in the 'Gypsy pilgrimage' at Les-Saintes-Maries-de-la-Mer, Ellen Badone Seductions of suffering: stigmata, salvation and pilgrimage to the sanctuary of St. Padre Pio in San Giovanni Rotondo, Michael A. Di Giovine The seductions of the way: the return of the pilgrim and the road to Compostela as a li...

El amor es un elemento importante, aunque no primordial, en la poesía de Horacio. Concretamente, en la primera obra compuesta por Horacio, las Sátiras o Sermones, documentamos una postura contraria al amor y a la seducción, en línea con el ideario epicúreo. Horacio denuesta la implicación emocional inherente al amor por las mujeres y, por tanto, disuade de implicarse en prácticas de seducción. Ridiculiza la posición poco airosa del enamorado excluido a las puertas de la amada (serm. II 3, 259-275) y disuade de mantener relaciones adúlteras con matronas (serm. I 2, II 7). Se estudia este tema desde una perspectiva comparatista, con especial atención a la configuración tematológica del motivo, sus fuentes (epigrama griego, comediográfos griegos, Lucrecio) y su proyección (en Quevedo, los hermanos Argensola y el Arte de las Putas de Nicolás Fernández de Moratín).

Che cosa significa osservare gli eventi minimi, le cose apparentemente di poco conto? Ogni giorno sentiamo l'esigenza di chiarire e di dare nuovo significato agli eventi ordinari che in qualche modo ci coinvolgono. Il libro penetra nei livelli elementari che costituiscono le certezze dell'esistenza. Rappresenta gli scenari che strutturano il quotidiano: le parole e i silenzi, la natura che ci interroga, le nascite e le credenze, la passione del bello, il sedurre e l'essere sedotti. Benché talora contraddittorio, il nostro mestiere di umani è di metterci miracolosamente in gioco per gestire vittorie, sconfitte e sogni paradisiaci, a partire da insostituibili "cose da nulla". Su questo piano, anche una vittoria parziale o stentata può essere un passo felice verso il futuro.

Indice:

The starting point for this interview with Jean Laplanche is a question regarding the place of infantile sexuality within psychoanalysis today. Laplanche begins by underscoring the audaciousness of Freud's characterization of infantile sexuality and the significance of the expansion of the field of "the sexual" that this characterization entails. He goes on to outline his celebrated "general theory of seduction." In doing so he explains key terms associated with it, such as the "enigmatic message" and the "fundamental anthropological situation," and clarifies how the theory seeks to account for sexuality in the expanded sense. In particular, Laplanche stresses the intersubjective origins of "drive" sexuality in infancy, its chaotic evolution, its unique economic mode of functioning, and its subsequent conflict with innate "instinctual" sexual impulses that surge forth at puberty. He also positions the general theory of seduction in relation to the important advances made by attachment theory in the field of the adult-child relationship. Throughout the interview, the discussion touches on social contexts, and at points Laplanche outlines positions on topical concerns connected to education, media, and the law, and the importance of rethinking certain psychoanalytic paradigms in an age of new family structures that do not correspond to the nuclear unit.

The Seductions of Pilgrimage explores the simultaneously attractive and repellent, beguiling and alluring forms of seduction in pilgrimage. It focuses on the varied discursive, imaginative, and practical mechanisms of seduction that draw individual pilgrims to a pilgrimage site; the objects, places, and paradigms that pilgrims leave behind as they embark on their hyper-meaningful travel experience; and the often unforeseen elements that lead pilgrims off their desired course. Presenting the first comprehensive study of the role of seduction on individual pilgrims in the study of pilgrimage and tourism, it will appeal to scholars of anthropology, cultural geography, tourism, heritage, and religious studies.

El amor es un elemento importante, aunque no primordial, en la poesía de Horacio. Concretamente, en la primera obra compuesta por Horacio, las Sátiras o Sermones, documentamos una postura contraria al amor y a la seducción, en línea con el ideario epicúreo. Horacio denuesta la implicación emocional inherente al amor por las mujeres y, por tanto, disuade de implicarse en prácticas de seducción. Ridiculiza la posición poco airosa del enamorado excluido a las puertas de la amada (serm. II 3, 259-275) y disuade de mantener relaciones adúlteras con matronas (serm. I 2, II 7). Se estudia este tema desde una perspectiva comparatista, con especial atención a la configuración tematológica del motivo, sus fuentes (epigrama griego, comediográfos griegos, Lucrecio) y su proyección (en Quevedo, los hermanos Argensola y el Arte de las Putas de Nicolás Fernández de Moratín).

The current research proposal offers a comparative approach to pedagogical practices with a diffuse erotic context, mostly presented by the female perspective –in this case by Sappho- in contrast to the male one.

More specifically, the Pedagogical Eros was a distinguishing characteristic of the upper class and mainly, was accepted silently, which at some point, at early stage of sexuality for a young noble, could enter into relationship with an older one, for some time. The “nobility” of the phenomenon can be justified by the increased spiritual quests of people, who have received an elementary education.

As far as it concerns Sappho, the "Tenth Muse" according to Plato, she has variously occupied the literary circles of Antiquity. We attempt to identify the characteristics of her educational methods, with an emphasis on pure erotic element, which acts as a catalyst of philosophein and contrary to the similar techniques of the “lover of the speeches”, Socrates.

Firstly, in order to accomplish a complete analysis, we examine Sappho’s fragments, alongside, with passages from the Platonic Symposium and Phaedrus. Secondly, we use some anthropological and sociological theoretical principles, mainly from the domain of Gender Studies, as complementary research tools, aiming at an integrated approach of interpersonal relationships and sexuality. Special mention would be on the Freudian theory of seduction.

The research results lead to a kind of “intellectual parturition” after a spiritual sunousia entering the erotic reflection and the sense of paideia, similarly from an early female poet and an eminent male philosopher of the classical period. Our objective is to present a harmonious sense of eroticism during the educational process.

From:
Deutsches Filminstitut – DIF e.V. / Deutsches Filmmuseum (Hg.)
Eva Lenhardt / Andreas Rauscher (Ed.)
Films and Games
Interactions
256 pages, 281 photos, color
Hardcover, 21 x 28 cm
Artikelnummer 978-3-86505-242-1
Publication date Germany: June 2015
Publication date US/UK: October 2015

pages 28-37

As a comparatively young medium, video games are in a formative phase of development. Similar to film in its beginnings, games are currently establishing themselves as cultural objects to be taken seriously. This is being appreciated by an ever wider audience. The inclusion of important games in the collection of The Museum of Modern Art in New York in 2012 marked the acknowledgement that was long overdue.

This catalogue can be considered as a descriptive dialogue between theory and practice. With international contributions from multidisciplinary perspectives, it is dedicated to the interactive aesthetic influences between films and games. Expert contributions include those from the fields of film studies, game studies, art and cultural studies, media studies, and pedagogy. Texts by journalists such as Boris Schneider-Johne and Petra Fröhlich provide background information and essayistic reflections. Interviews with game developers like Jordan Mechner and Ron Gilbert as well as film directors such as Paul W. S. Anderson shed light on the interactions between films and games from a practical perspective and offer far-reaching insights.
Some of the subjects explored include the historical development of both media, adaptation processes, perspectives of transmedia storytelling, camera aesthetics, architecture and set design as well as music and sound design, gender stereotypes, creative gaming, game art, and the archival processing of video games.

After a previous analysis of the glances, words and
gestures in seduction,the author now reflects on the effects of time and distance, the latter being understood as space. Time does not go by for seduction, or rather time produces seduction Seduction is understood as a song with an a llure akin to the sirens songs described by Ulysses

This book presents a new account of the complex relationship between psychoanalytic theory and the key tragic dramas by Sophocles and
Shakespeare in which it has often sought exemplars and prototypes. Examining the close historical and theoretical connections between
Freud’s interpretative appeal to tragic drama and his professed abandonment of the ‘seduction’ hypothesis in 1897, the author explores
the ways in which otherness has subsequently been simplified out of both psychoanalytic theory and the dramatic texts it endeavours
to comprehend. Drawing on Jean Laplanche’s critical reformulation of the seduction theory, the book offers close rereadings of Oedipus
Tyrannus, Julius Caesar and Hamlet in order to outline an approach to tragedy which takes account of the constitutive priority of the other in the
itinerary of the tragic subject. By reopening the theme of seduction in relation to these key literary dramas, the book aims to generate a better
understanding both of the function which psychoanalysis has called upon tragedy to perform, and the radical modes of otherness within tragedy
for which psychoanalysis has hitherto remained unable to account.