• Our relationships with our family members, friends, and romantic partners are important to our body image and can have both negative and positive effects on our sense of self.

• Developing friendships and romantic partnerships can be an important part of your life during your teens and adulthood and can open you up to feelings of vulnerability about your appearance; experiencing some stress surrounding the initiation of relationships is common.

• Maintaining healthy relationships can contribute to your positive body image development.

This chapter is a comprehensive history of sexually-explicit literature drawn from books banned and prosecuted in Asia and Europe, sixteenth to twentieth centuries. The prurient treatment of sexual violence and the lewd mockery of authority form part of this discourse, yet law and censorship denied its literary value, reduced all erotica to the most basic “obscenity” or mere “pornography” (literally, “whore-writing”), and sometimes put the author to death. (Paradoxically the cultures richest in sex-writing also suppressed it most fiercely.) Here is a more complex history, hybridizing multiple genres: manuals of sexual positions, courtesans” autobiography, satire against hypocrisy and repression, philosophies of mind, body, and desire – normally homoerotic, though in China and the West true knowledge of sexuality is represented as female, passed down by mistresses of the secret arts providing instructions for the wedding night (and beyond). The phallus was even gendered female. Libertinism continued to explore same-sex desire (especially in Italy and Japan), while its heteronormative branch dissociated sexuality from procreation, insisting that biological sex should be transformed into an art of aesthetic “transmutation”, urging women to pursue erotic pleasure as a supreme end in itself – centuries before contraception made this realistic. Feminocentric and masculinist perspectives intertwine.

The decades since the Second World War have seen dramatic shifts in the approved varieties of sexual experience in liberal democracies. Sexuality, once regarded as an intensely private matter, is now on display everywhere, on large and small screens. Effective contraception has made what was once primarily a procreative act into a form of recreation, available to both heterosexual and same-sex couples. From being regarded as a privilege of marriage in the 1950s, today access to sex might be regarded as a right. An extreme form of this belief might be seen in the “Incel” movement. Cohesive community ideals about sexuality within marriage disintegrated in the post-war world responding to growing demands to respect a diversity of individual desires. Democracies which hold to faith traditions promote a more traditional view of sex as contained within marriage. The promotion of a responsible sex life has become part of the commitment of many secular liberal democracies to ensure the health and welfare of citizens, particularly in light of AIDS and HPV. Countries have put laws in place to protect citizens from sexual abuse. The global nature of the digital realm, however, makes sexually exploitative visual material difficult to police.

This chapter deconstructs the history of erotic art from prehistory to the twenty-first century. Instead of holding as self-evident the meanings of “art” and “eroticism,” it traces a history of how and why some forms of representation have been deemed erotic and the ambiguities of “art” versus “pornography.” Four related phenomena are used as anchors to explore erotic art’s long history: script, sustained long-distance contact, print, and the use of lenses and photography. These relate in turn to three important dimensions of world history: networks, or physical and informational connections between different regions of the world; technologies, mainly the means for creating and circulating visual representations but also including the pivotal technology of contraceptives; and ideologies, or how sex, eroticism, and art are defined and regarded. Contemporary conceptions of erotic art are in many ways directly traceable to key paradigm shifts in sexuality that originated in cultural, intellectual, and material interactions since the early modern period (approximately the sixteenth century). Like human history generally, the history of erotic art has been riven by hierarchies – including gendered ones usually privileging the perspectives of men – exploitation, and violence. But artistic representations of sex have also challenged long-defended hegemonies.

This chapter explores London as a site of sexual pleasure and danger in the nineteenth century, a period during which as an imperial centre it became the world’s largest city. Focused on the complex sexual landscape of this urban environment, it examines sexual activity in both private and public spaces including homes, theatres, public houses, pleasure gardens, royal parks, and toilets, paying particularly attention to the ways in which social class determined the personal experiences of sexuality in the Victorian era. Many of these acts were frequently monitored and policed and could result not only in moral censure but also in arrest, imprisonment, or public humiliation in places such as divorce courts. Most likely to run afoul of the law were those in the British metropolis who transgressed gender and sexual boundaries by working as prostitutes, cross-dressing, or engaging in intimate acts with members of their own sex. The sexual history of nineteenth-century London also involved the proliferation of a thriving and diversified trade in pornographic texts and images, ranging from erotic novels to photographic postcards. Central to this chapter are considerations of the ways in which sex and sexuality figured in economic life, urban geographic configurations, and various forms of self-fashioning.

A variety of social and political tensions have historically shaped the interconnections between sexuality and public history, including the display of sexually explicit materials for the general public, concerns about censorship and the role of institutional funders, and debates about the role of mainstream institutions to document the history of communities long targeted by the guardians of official memory. Some aspects of sexuality, such as marriage, have long been part of public history, while others, such as sex work, have only rarely been mentioned. LGBTQ+ history has been particularly controversial, so this chapter focuses primarily on LGBTQ+ sexualities in public history, including organizations, archives, museums, publications, exhibitions, grassroots history projects, digital media, and other venues.

8. Disgrace is read in its relation to numerous unacknowledged narrative influences, including Richardsons Clarissa and Tolstoys Resurrection.

In Defoe’s lifetime, the words pornography, pornographer, and pornographic did not yet exist. But starting in the 1650s, a new genre of sexually explicit writing began to appear in English, so that by the 1680s a ’canon’ of erotic or obscene texts that would later be termed pornographic had become a familiar part of the literary landscape. In much of his own work, Defoe presents himself as a scourge of sexual immorality and indecency: an anti-pornographer. But in two key later texts – Conjugal Lewdness; Or, Matrimonial Whoredom (1727) and his unsettling final novel, Roxana (1724) – he not only engaged with the content of pornography, i.e. sexual acts and illicit or unregulated desire, but adopted some of its key formal features, such as the seductive dialogue between women and the tension between moral suppression and immoral enticement.

Deepfakes are a new form of synthetic media that broke upon the world in 2017. Bringing photoshopping to video, deepfakes replace people in existing videos with someone else’s likeness. Currently, most of their reach is limited to pornography and efforts at discreditation. However, deepfake technology has many epistemic promises and perils, which concern how we fare as knowers and knowns. This chapter seeks to help set an agenda around these matters to make sure that this technology can help realize epistemic rights and epistemic justice and unleash human creativity, rather than inflict epistemic wrongs of any sort. In any event, the relevant philosophical considerations are already in view, even though the technology itself is still very much evolving. This chapter puts to use the framework of epistemic actorhood from Chapter 5.

Relationship problems relating to sex and desire, including mismatches in desire and how to successfully address these; mismatches in preferred sexual activities and how to address these; the value of couples counselling for all couples.

This chapter considers how the Internet (and technology more widely) affects sex, including online pornography use, internet sex addiction, and dating apps. Practical advice on safe use of the Internet for dating is given. Advice for parents on the importance of open two-way discussion with children about online risks is covered.

In the Middle Ages, the dismemberment of Agrippina, Emperor Nero’s mother, was not simply a gruesome family affair, but it had links to the emerging practice of dissection and the anatomical difference between the sexes. According to classical authors, after an unsuccessful assassination attempt involving a self-sinking boat, Agrippina was slayed by Anicetus upon Nero’s orders.1 In Roman History, Cassius Dio added that Agrippina opened her dress and asked Anicetus to strike at her womb “for this bore Nero.”2 Nero wished to see her corpse to verify the death, “so he laid bare her body, looked her all over and inspected her wounds.”3 The emperor examining the wound of the womb is transformed in the Middle Ages into the image of the ruler ordering the dissection of the female body.4 Jacobus de Voragine described such episode in the Golden Legend (c. 1260).5 Jean de Meun, in his continuation to The Romance of the Rose (c. 1275), wrote that Nero “had his mother dismembered so that he might see the place where he was conceived.”6 Jean de Meun is documented between 1265 and 1269 in Bologna, where post-mortem medical examination was practiced from the thirteenth century onward.7 Giovanni Boccaccio reports the story at length, including the wound of the womb, and mentions that in some sources “after her death Nero inspected the corpse, criticizing some parts of her body and praising others.”8

Thinking as a way of coping with the situations in which we find ourselves. Internal dialogue and gestures. Situations calling for thought. Thinking and rational deliberation. Actions and plans for actions as having entirely different ontological status. In the seventeenth century the mechanical worldview separated bodies from minds, and thinking thereby became a disembodied process. The body was instead equated with “the passions.” As a result, movements such as the ballet came to be regarded only as aesthetic objects. Eighteenth-century theories of the origin of language buttressed this claim. The ridiculousness of ballets d’action. Ballet dancers now became sex workers, and the theater became a location where rational, disembodied, human beings keep their emotions.

It has been noted by numerous scholars that Wallace’s writing of sexual activity and identity was, to say the least, unsatisfying. Often violent and/or coercive, almost always alienating, and generally involving repulsion either within or beyond the text, sex is a site of conflict for Wallace. While juvenile sexual jokes animate the early work in particular (Frequent and Vigorous being the prime example), meaningful sexual experiences are few. Sex is problematic; phantom pregnancies and the choice of masturbation over sexual intimacy recur as images of the wasteful productivity of contemporary society and culture, while rape and sexual manipulation are common behaviors of the solipsistic (usually male) characters peopling this space. This chapter outlines some of the primary motifs of sex and sexuality in Wallace’s work, examining the ways in which he used the sexual subject to dramatize forms of social intercourse and self-expression and exploring the connections between sex, power and communication in his writing.