Kinsey Codebook

Total Page:16

File Type:pdf, Size:1020Kb

Kinsey Codebook TABLE OF CONTENTS PREFACE AND INSTRUCTIONS ............................ i DEMOGRAPHIC DATA ..................................... 1 FAMILY BACKGROUND ..................................... 8 PUBERTY AND SEX EDUCATION: FEMALE ................... 17 AGE AT PUBERTY .................................. 17 FIRST AGE AND SOURCE OF SPECIFIC SEX KNOWLEDGE ITEMS .................................. 20 PUBERTY AND SEX EDUCATION: MALE ...................... 23 AGE AT PUBERTY .................................. 23 FIRST AGE AND SOURCE OF SPECIFIC SEX KNOWLEDGE ITEMS .................................. 26 SEXUAL AROUSAL AND PHYSICAL DATA: FEMALE ............. 29 PHYSICAL DATA .................................... 32 SEXUAL AROUSAL AND PHYSICAL DATA: MALE ............... 38 PHYSICAL DATA .................................... 41 HISTORY OF TESTICULAR PATHOLOGY .................. 44 MASTURBATION, DREAMS, HOMOSEXUALITY, AND ANIMAL CONTACT: FEMALE ............................... 47 MASTURBATION ..................................... 47 DREAMS ........................................... 51 HOMOSEXUAL BEHAVIOR (POSTPUBERTAL ONLY) ......... 52 ANIMAL CONTACT (PRE- AND POSTPUBERTAL) .......... 54 MASTURBATION, DREAMS, HOMOSEXUALITY, AND ANIMAL CONTACT: MALE ................................. 56 MASTURBATION ..................................... 56 DREAMS ........................................... 60 HOMOSEXUAL BEHAVIOR (POSTPUBERTAL ONLY) ......... 61 ANIMAL CONTACT (PRE- AND POSTPUBERTAL) .......... 63 PREPUBERTAL SEX PLAY: FEMALE ......................... 66 HOMOSEXUAL SEX PLAY .............................. 66 HETEROSEXUAL SEX PLAY ............................ 68 PREPUBERTAL EXPERIENCE WITH ADULT MALES ......... 71 OBSERVATION OF MALE GENITALIA ................... 73 PREPUBERTAL SEX PLAY: MALE ........................... 75 HETEROSEXUAL SEX PLAY ............................ 75 HOMOSEXUAL SEX PLAY .............................. 77 PREPUBERTAL EXPERIENCE WITH ADULT FEMALES ....... 80 OBSERVATION OF FEMALE GENITALIA .................. 82 HETEROSEXUAL PREMARITAL PETTING, FIRST COITUS, PREMARITAL COITAL TECHNIQUES: FEMALE ................ 85 HETEROSEXUAL PETTING ............................ 85 PREMARITAL PETTING TECHNIQUES ................... 86 FIRST COITUS (PREMARITAL OR MARITAL) ............. 88 PREMARITAL COITAL TECHNIQUES ..................... 91 PRECOITAL TECHNIQUES ............................ 91 COITAL POSITIONS ................................. 92 HETEROSEXUAL PREMARITAL PETTING, FIRST COITUS, PREMARITAL COITAL TECHNIQUES: MALE ................... 94 HETEROSEXUAL PETTING ............................ 94 PREMARITAL PETTING TECHNIQUES ................... 95 FIRST COITUS (PREMARITAL OR MARITAL) ............. 97 PREMARITAL COITAL TECHNIQUES ..................... 100 PRECOITAL TECHNIQUES ............................ 101 COITAL POSITIONS ................................. 102 FIRST COITAL ORGASM, PRE/NONMARITAL COITUS, PREMARITAL CONTRACEPTION, LIFETIME CONTACT WITH PROSTITUTES: FEMALE ............................ 104 ORGASM ........................................... 104 PREMARITAL COITAL ORGASM WITH COMPANIONS ......... 105 PRE/NONMARITAL COITUS ............................ 106 CONTRACEPTION IN PREMARITAL COITUS ............... 111 HETEROSEXUAL PROSTITUTION ........................ 112 FIRST COITAL ORGASM, PRE/NONMARITAL COITUS, PREMARITAL CONTRACEPTION, LIFETIME CONTACT WITH PROSTITUTES: MALE ............................... 113 PRE/NONMARITAL COITUS ............................ 113 CONTRACEPTION IN PREMARITAL COITUS ............... 118 LIFETIME HETEROSEXUAL EXPERIENCE WITH PROSTITUTES ..................................... 119 MARRIAGE (CARD 1): MALE AND FEMALE ................... 123 MARRIAGE (CARD 2): FEMALE ............................ 133 MARRIAGE (CARD 2): MALE .............................. 139 MARRIAGE (CARD 3): MALE AND FEMALE ................... 146 HEALTH, RECREATION, SEEING SEX, RESTRAINTS, MISCELLANEOUS DATA .................................... 158 HEALTH ........................................... 158 RECREATION ....................................... 158 SIGHT OF SEX ..................................... 161 PREMARITAL COITAL RESTRAINTS ..................... 163 FEMALE FREQUENCY DATA ................................. 168 MALE FREQUENCY DATA .................................. 171 FEMALE HOMOSEXUAL BEHAVIOR (CARD 1) ................... 174 FIRST POSTPUBERTAL HOMOSEXUAL EXPERIENCE ....... 174 CIRCUMSTANCES OF FIRST POSTPUBERTAL HOMOSEXUAL EXPERIENCE ............................ 175 MALE HOMOSEXUAL BEHAVIOR (CARD 1) ..................... 181 FIRST POSTPUBERTAL HOMOSEXUAL EXPERIENCE ....... 181 FEMALE HOMOSEXUAL BEHAVIOR (CARD 2) ................... 187 LOCATIONS OF HOMOSEXUAL CONTACTS ................ 190 MALE HOMOSEXUAL BEHAVIOR (CARD 2) ..................... 193 TECHNIQUES FOR PARTNER'S ORGASM .................. 197 TECHNIQUES FOR SUBJECT'S ORGASM .................. 198 SITUATIONAL RESPONSES ............................ 198 FEMALE HOMOSEXUAL BEHAVIOR (CARD 3) ................... 200 DIFFICULTIES IN HOMOSEXUAL LIFE .................. 200 REASONS FOR SUBJECT'S HOMOSEXUALITY ACCORDING TO SUBJECT ............................ 206 MALE HOMOSEXUAL BEHAVIOR (CARD 3) ..................... 209 LOCATIONS OF HOMOSEXUAL CONTACTS ................ 209 CURRENT PREFERENCES FOR PARTNER .................. 210 DIFFICULTIES IN HOMOSEXUAL LIFE .................. 212 MALE HOMOSEXUAL BEHAVIOR (CARD 4) ..................... 215 OBVIOUSNESS OF HOMOSEXUAL TRAITS ................ 215 REASONS FOR SUBJECT'S HOMOSEXUALITY ACCORDING TO SUBJECT ............................ 218 FEMALE PROSTITUTES (CARD 1) ........................... 222 TECHNIQUES USED BY SUBJECT ON CLIENT ............. 226 FEMALE PROSTITUTES (CARD 2) ........................... 228 TECHNIQUES USED BY CLIENT ON SUBJECT ............. 228 POSITIONS USED .................................. 229 REASONS FOR SUBJECT'S PROSTITUTION ACCORDING TO SUBJECT ............................ 233 APPENDIX .............................................. 235 INDEX ................................................. 242 Preface to the 2nd Edition With Instructions for Researchers The collections at the Kinsey Institute are available to qualified scholars and researchers. The Institute has agreements with third parties which maintain confidentiality and use restrictions. Requests for computerized statistical analyses must be approved by our director's office. The researcher should submit a short description of their work, their interest in and use of the data, and proposed hypotheses they wish to test. This should be on professional letterhead or otherwise submitted with professional credentials to The Director’s Office The Kinsey Institute for Research in Sex, Gender, and Reproduction Morrison Hall 313 Indiana University 1165 East Third Street Bloomington, IN 47405-3700 USA Most of the original Kinsey data are numerically coded, and this codebook lists what is available for computer analysis. The Kinsey Institute does not give out any data to external researchers, but interested researchers may look over the codebook and send us their specifications for a custom analysis (SPSS is typical). After a request for any kind of access to the collections has been approved, the researcher will be asked to fill out a “user form” which will be filed with “User Services” to indicate they are a qualified scholar. Then, the researcher should send the Institute programmer an exact list of variables, and detail precisely what kinds of statistical procedures are to be performed. There is an hourly charge for programming time, and generally one or several short programs can be written and run in 10-15 minutes. Output is emailed back to the researcher. To save on time and costs, the researcher may write their own SPSS code and submit it to the Kinsey Institute programmer. There are other materials in addition to this codebook which may be of help in designing statistical analyses. In particular, see The Kinsey Data: Marginal Tabulations of the 1938-1963 Interviews Conducted by the Institute for Sex Research by Paul H. Gebhard and Alan B. Johnson (W.B. Saunders, 1979) (reprinted by Indiana University Press 1998). This work describes the data set in detail, and lists frequencies for most of the computer coded variables, so in essence it can also be used as a codebook guide to the data and the variables available. The general wording of interview questions is given. In the opening chapters, Gebhard and Johnson give a good description of the groups interviewed, defining and clarifying the “original” sample, the “basic” sample, the “prison” sample and the “prostitute” sample, so that one or more of these may be selected. Here also are descriptions of the gender, race and sexual orientation breakdowns of the samples. Also see the companion first volume to this codebook, The Kinsey Interview Kit compiled and edited by Joan Scherer Brewer (1985) which is available for free download at the Kinsey Institute web site (as is this codebook). It gives the actual questions asked and explains how the data were encoded on the original interview sheets at the time of the interview. Thomas G. Albright, Systems Analyst/Programmer November 29, 2006 i DEMOGRAPHIC DATA COLUMN CODE 1-2 CARD NUMBER: 00 = FEMALE 01 = MALE 3-7 CASE HISTORY NUMBER: 8-9 AGE LAST BIRTHDAY: 10-11 MONTH OF BIRTH: 01 = JANUARY ETC. 12 = DECEMBER 99 = UNKNOWN 12-13 YEAR OF BIRTH (ONLY LAST TWO DIGITS CODED): 1889 = 89 ETC. 1927 = 27 ETC. 14-16 SOURCE NUMBER OF INTERVIEW: SEE APPENDIX; SOME CODES ARE
Recommended publications
  • Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross
    Excremental Ecstasy, Divine Defecation and Revolting Reception: Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross Scatology, for all the sordid formidability the term evokes, is not an es- pecially novel or unusual theme, stylistic technique or descriptor in film or filmic reception. Shit happens – to emphasise both the banality and perva- siveness of the cliché itself – on multiple levels of textuality, manifesting it- self in both the content and aesthetic of cinematic texts, and the ways we respond to them. We often refer to “shit films,” using an excremental vo- cabulary redolent of detritus, malaise and uncleanliness to denote their otherness and “badness”. That is, films of questionable taste, aesthetics, or value, are frequently delineated and defined by the defecatory: we describe them as “trash”, “crap”, “filth”, “sewerage”, “shithouse”. When considering cinematic purviews such as the b-film, exploitation, and shock or trash filmmaking, whose narratives are so often played out on the site of the gro- tesque body, a screenscape spectacularly splattered with bodily excess and waste is de rigeur. Here, the scatological is both often on blatant dis- play – shit is ejected, consumed, smeared, slung – and underpining or tinc- turing form and style, imbuing the text with a “shitty” aesthetic. In these kinds of films – which, as their various appellations tend to suggest, are de- fined themselves by their association with marginality, excess and trash, the underground, and the illicit – the abject body and its excretia not only act as a dominant visual landscape, but provide a kind of somatic, faecal COLLOQUY text theory critique 18 (2009).
    [Show full text]
  • The Fecal Fixation of the Chosen Ones
    The Fecal Fixation of the Chosen Ones The Jewish obsession with feces is very disturbing, and very real. In fact, it is openly admitted by many Jews. In an article called The Past, and Future, of Jewish Humor, the Jewish writer Uriel Heilman writes: “And if it’s scatological, all the better.” “For a Jew, a bowel movement is an event,” Waldoks declared. “That’s why there’s so much bathroom humor.”(1) Tablet magazine columnist Marjorie Ingall had this to say about the Jewish fecal obsession: “Jews have a fine tradition of scatological humor.” “When new [Jewish] moms get together they love talking about poop.”(2) In a weird article about toilet training, Jewess Carla Naumburg proudly states: “We talk about poop a lot in my family. You might think it’s just because we’re the parents of a toddler and an infant, and that’s definitely part of it. But we’re also Jews, so it comes naturally to us.”(3) A Jew named Howard Rheingold has a blog titledHoward’s Butt, where he writes extensively about his rectal cancer. In this blog we find yet another glowing reference to the bowel process: “A lot of psycho-social-sexual-mythological energy flows forth from our organ of shit,”(4) Jewish actress Tori Spelling made a blog entry about plunging a toilet for her toddler entitled Poo’s funny…Sometimes! Here’s what she said: “I’m NOT shit shy. In fact, I’m a Poo Fanatic and a fart joke fan to the extreme. I even have the childhood cartoon books “The Gas We Pass” and “Everybody Poo’s!” proudly displayed on my mantle while my unused copy of “War and Peace” collects dust buried in my sock drawer.
    [Show full text]
  • November 2014 Chamber Pots and Gibson Girls
    University of Birmingham Chamber Pots and Gibson Girls: Fagg, John DOI: 10.1086/684919 License: None: All rights reserved Document Version Early version, also known as pre-print Citation for published version (Harvard): Fagg, J 2015, 'Chamber Pots and Gibson Girls: Clutter and matter in John Sloan’s Graphic Art', American Art, vol. 29, no. 3, pp. 28-57. https://doi.org/10.1086/684919 Link to publication on Research at Birmingham portal General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • University of Birmingham Chamber Pots and Gibson Girls
    University of Birmingham Chamber Pots and Gibson Girls: Fagg, John DOI: 10.1086/684919 License: None: All rights reserved Document Version Early version, also known as pre-print Citation for published version (Harvard): Fagg, J 2015, 'Chamber Pots and Gibson Girls: Clutter and matter in John Sloan’s Graphic Art', American Art, vol. 29, no. 3, pp. 28-57. https://doi.org/10.1086/684919 Link to publication on Research at Birmingham portal General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • HYGIENE: Ceramics, the Body and Its Functions A
    Paul Mathieu, The Art of the Future: 14 essays on ceramics Chapter Ten HYGIENE: Ceramics, the Body and its Functions “The only works of art America has given are her plumbing and her bridges.” Marcel Duchamp. “The invention of television can be compared to the introduction of indoor plumbing. Fundamentally, it brought no change in the public’s habit. It simply eliminated the necessity of leaving the house.” Alfred Hitchcock “ Acting! Acting is not important! Plumbing is important!” Cary Grant “Craft is what you piss in, Art is what you piss on.” Old joke A short fiction: This research will never be finished. Like cleaning up (and messing up), there will always be another detail to check, another fact to verify or to add, another insight to articulate, another point to argue. As an example, I cannot remember where exactly, or what was the name of the book or its author, but a friend showed me once, years ago now, an illustrated comic book 1 about an archeologist digging a site on earth, in the very distant future. He had just discovered a new site that he believed to be particularly significant socially and religiously, as an important place for specific rituals in the ancient, forgotten culture he was investigating. He had just found an important, major structure and from the remains of the foundation and from the artifacts found on site, he could speculate that it was not particularly large since it must have been only one story high, possibly two, at most. It was clearly made up of a series of smaller rooms, about a dozen, all of the same size and shape, all independent from each other, yet connected by a shared wall.
    [Show full text]
  • Scatological Children's Humour
    Scatological Children’s Humour Notes from the Netherlands and Anywhere Sjaak van der Geest University of Amsterdam I still remember the first joke I learned when I was laughter by presenting a story or a situation that is out about five years old. There was a mother who had two of the ordinary and is experienced as funny (tautology boys; one was called Yesterday and the other Pudding. is unavoidable when one wants to explain what humour Pudding and Yesterday had been naughty and were is). Shit on someone’s head is unusual, out of place and, sent to their room. Pudding said to Yesterday: ‘I must in the eyes of some, comical. For children that unusual poop’. Yesterday replied: ‘We are not allowed to leave event is enough to enjoy the thrill of the story. But not the room. Do it from the window’. Pudding did so but only for children. Cartoons and illustrations for a larger at that same moment the mayor passed by the house public also convey the humour of dirt falling on people and the poop fell on his hat. The mayor was annoyed from above. and rang the bell. The mother opened the door and the Excrement forms the hilarious denouement of the Mayor said: ‘Something fell on my head when I passed joke.2 The children’s story is a joke told because of the your house’. The mother asked: ‘Was it Yesterday?’ The shit and the piss. In this essay I will explore the social mayor: ‘No, today!’ The mother: ‘Was it Pudding?’ The context and meaning of scatological jokes in general mayor: ‘No, it was poop!’ Hahahaha.1 and among children in particular.
    [Show full text]
  • The Case of Eglon's Murder (Judges 3)
    ETHICALLY CULTURED INTERPRETATIONS: THE CASE OF EGLON'S MURDER (JUDGES 3) JACK M. SASSON Vanderbilt University I. Reading Ehud Until recently the story of Ehud was read as a yet another account of God motivating his elect to complete his will.! The Greek versions ("LXX" for convenience) largely adopt the Hebrew story line with minor expansions, as when at 3:30, they explicitly cite Ehud as a Judge when the Hebrew does not. The Targum likewise does not expand much on the story. Facing the many hapax legomena in the text, both the LXX and the Targum naturally translate interpretively, without serious deflection of contents. In his paraphrase of Jewish Scripture, however, Josephus turns Ehud into a model for Jewish heroic opposi­ tion to tyranny.2 He is a trusted courtier who had real cause to turn against Eglon and when he resolutely strikes at his heart (never at his belly!), the confrontation lacks any touches that might cheapen Ehud's act. 3 In Rabbinic lore Ehud is deemed a "great scholar" (Midrash Genesis Rabbah, 99.3), but hardly any more attention is paid to him. Still, there was only sympathy for the role circumstances forced on Ehud so that when around the 8th century an "Antiochus Scroll" was composed for Hanukkah celebrations, Ehud's deed was duplicated by 1 A good review of opinions on Ehud over the centuries is in D. M. Gunn, Judges (Blackwell Bible Commentaries; Blackwell, 2005), pp. 38-49. 2 "[Ehudl became familiar with Eglon, and that by means of presents, with which he obtained his favor, and insinuated himself into his good opinion; whereby he was also beloved of those that were about the king.
    [Show full text]
  • CLOSED SYLLABLES Short a 5-8 Short I 9-12 Mix: A, I 13 Short O 14-15 Mix: A, I, O 16-17 Short U 18-20 Short E 21-24 Y As a Vowel 25-26
    DRILL BITS I INTRODUCTION Drill Bits Phonics-oriented word lists for teachers If you’re helping some- CAT and FAN, which they may one learn to read, you’re help- have memorized without ing them unlock the connection learning the sounds associated between the printed word and with the letters. the words we speak — the • Teach students that ex- “sound/symbol” connection. ceptions are also predictable, This book is a compila- and there are usually many ex- tion of lists of words which fol- amples of each kind of excep- low the predictable associa- tion. These are called special tions of letters, syllables and categories or special patterns. words to the sounds we use in speaking to each other. HOW THE LISTS ARE ORGANIZED This book does not at- tempt to be a reading program. Word lists are presented Recognizing words and pat- in the order they are taught in terns in sound/symbol associa- many structured, multisensory tions is just one part of read- language programs: ing, though a critical one. This Syllable type 1: Closed book is designed to be used as syllables — short vowel a reference so that you can: sounds (TIN, EX, SPLAT) • Meet individual needs Syllable type 2: Vowel- of students from a wide range consonant-e — long vowel of ages and backgrounds; VAT sounds (BAKE, DRIVE, SCRAPE) and TAX may be more appro- Syllable Type 3: Open priate examples of the short a syllables — long vowel sound sound for some students than (GO, TRI, CU) www.resourceroom.net BITS DRILL INTRODUCTION II Syllable Type 4: r-con- those which do not require the trolled syllables (HARD, PORCH, student to have picked up PERT) common patterns which have Syllable Type 5: conso- not been taught.
    [Show full text]
  • The Problem of Digestive Interpretation in Pope, Swift, And
    Wits, Shits, and Crits: The Problem of Digestive Interpretation in Pope, Swift, and Fielding A dissertation submitted for a Ph.D. in English literature Cornell University Christina Susanna Black August 2018 C.S. Black Wits, Shits, Crits 1 © 2018 Christina Susanna Black C.S. Black Wits, Shits, Crits 2 WITS, SHITS, AND CRITS: THE PROBLEM OF DIGESTIVE INTERPRETATION IN POPE, SWIFT, AND FIELDING Christina Susanna Black, Ph.D. Cornell University 2018 My readings of the abundant ingestion and excretion themes in literary works by Fielding, Swift, Montagu, and Pope propose that we can understand these topics as sustained metaphors for the bipartite issues of readers' consumption and writers' incorporation of a literary heritage into these texts. These issues were particularly salient in early eighteenth-century Britain, as printed texts become more broadly available and affordable, and readers could no longer be relied upon to have a top education and sophisticated tools of analysis. Authors like Fielding and Swift also were experimenting in new forms like the novel that had no standards for analysis. These authors were interested in and concerned about how their work and that of their contemporaries would stand up to future scrutiny. How did the changing economic incentives for writing, from courting wealthy patrons to selling in mass volume to unknown readers, affect literature’s claim to everlasting value? Pope was the first English author to earn a sustainable living from his writings, but that new economic viability also spawned Grub Street hack writing, not to mention unsavory publishing practices. In this historical context, sustained metaphors of eating and digesting were a playfully denigrating way for these writers to investigate what it meant to write for consumers, even as the metaphors also revivified older literary traditions and genres by incorporating them into modern contexts.
    [Show full text]
  • Expensive Shit: Aesthetic Economies of Waste In
    EXPENSIVE SHIT: AESTHETIC ECONOMIES OF WASTE IN POSTCOLONIAL AFRICA by Sarah L. Lincoln Department of English Duke University Date:_______________________ Approved: ___________________________ Ian Baucom, Supervisor ___________________________ Ranjana Khanna ___________________________ Grant Farred ___________________________ Charles Piot Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2008 ABSTRACT EXPENSIVE SHIT: AESTHETIC ECONOMIES OF WASTE IN POSTCOLONIAL AFRICA by Sarah L. Lincoln Department of English Duke University Date:_______________________ Approved: ___________________________ Ian Baucom, Supervisor ___________________________ Ranjana Khanna ___________________________ Grant Farred ___________________________ Charles Piot An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2008 Copyright by Sarah L. Lincoln 2008 Abstract This dissertation proposes a reading of postcolonial African literature in light of the continent’s continued status as a “remnant” of globalization—a waste product, trash heap, disposable raw material, and degraded offcut of the processes that have so greatly enriched, dignified and beautified their beneficiaries. The “excremental” vision of African authors, poets and filmmakers reflects their critical consciousness of the imbalances and injustices that characterize African societies and polities under pressure from monetized capitalism and domestic corruption. The figure of superfluity, excess, destruction or extravagance—concepts gathered together under the sign of “waste”—is a central thematic, symbolic, and formal feature of many postcolonial African works, and I suggest that literature functions in this context to document, critique, and offer alternatives to the culture of waste that predominates in political and social life on the continent.
    [Show full text]
  • High Modernism and the Lure of the Obscene
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 21 | 2020 Modernism and the Obscene “Show! Hide! Show!”: High Modernism and the Lure of the Obscene Olivier Hercend Electronic version URL: http://journals.openedition.org/miranda/27796 DOI: 10.4000/miranda.27796 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Olivier Hercend, ““Show! Hide! Show!”: High Modernism and the Lure of the Obscene”, Miranda [Online], 21 | 2020, Online since 09 October 2020, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/27796 ; DOI: https://doi.org/10.4000/miranda.27796 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “Show! Hide! Show!”: High Modernism and the Lure of the Obscene 1 “Show! Hide! Show!”: High Modernism and the Lure of the Obscene Olivier Hercend Introduction 1 The accusations of obscenity which were famously leveled at major modernist works like Ulysses and The Well of Loneliness, and the long and complex history of trials, censorship and resistance that followed, have long framed the debate on modernism and the obscene around artistic freedom and the merits of representing sexuality and the body in literature. Between the description of real life—as in the passage in the “Calypso” episode of Ulysses where Bloom’s stay in the outhouse is described—and the desire to play on provocation, bawdiness or bad taste–for instance in Eliot’s youthful “Bolo” poetry—, arguments centered around the question of what constituted art, and what remained in the realm of pornography.
    [Show full text]
  • A Study of Chaucer's Use of Scatology in the Canterbury Tales
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1992 Chaucer's "Nether Ye": A Study of Chaucer's Use of Scatology in The aC nterbury Tales Brook Wilson This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Wilson, Brook, "Chaucer's "Nether Ye": A Study of Chaucer's Use of Scatology in The aC nterbury Tales" (1992). Masters Theses. 2181. https://thekeep.eiu.edu/theses/2181 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate degree candidates who have written formal theses. SUBJECT: Permission to reproduce thesis. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced ~~~~~~~~- Date Author Chaucer's "Nether Ye": A Study of Chaucer's Use of Scatology in The Canterbury Tales (TITLE) BY Brook Wilson THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in English IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1992 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE ' DATE I /.
    [Show full text]