株式会社極東書店トップ ＞ 商品一覧 ＞ Foucault and the Kamasutra: The Courtesan, the Dandy, and the Birth of Ars Erotica as Theater in India.
商品詳細
Foucault and the Kamasutra: The Courtesan, the Dandy, and the Birth of Ars Erotica as Theater in India.
・ISBN 978-0-226-34844-5 paper US$ 43.00
￥10,074.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
| 著者・編者 | Gautam, Sanjay K., |
|---|---|
| 出版社 | (University of Chicago Press, US) |
| 出版年月 | 2016 |
| ページ数 | 312 pp. |
| 言語 | ENG |
| ニュース番号 | ＜A04-25270＞ |
解説
The Kamasutra is best known in the West for its scandalous celebration of unbridled sensuality. Yet, there is much, much more to it; embedded in the text is a vision of the city founded on art and aesthetic pleasure. In Foucault and the "Kamasutra", Sanjay K. Gautam lays out the nature and origin of this iconic Indian text and engages in the first serious reading of its relationship with Foucault.
Gautam shows how closely intertwined the history of erotics in Indian culture is with the history of theater-aesthetics grounded in the discourse of love, and Foucault provides the framework for opening up an intellectual horizon of Indian thought. To do this, Gautam looks to the history of three inglorious characters in classical India: the courtesan and her two closest male companions-her patron, the dandy consort; and her teacher and advisor, the dandy guru. Foucault's distinction between erotic arts and the science of sexuality drives Gautam's exploration of the courtesan as a symbol of both sexual-erotic and aesthetic pleasure. In the end, by entwining together Foucault's works on the history of sexuality in the West and the classical Indian texts on eros, Gautam transforms our understanding of both, even as he opens up new ways of investigating erotics, aesthetics, gender relations, and subjectivity.
Gautam shows how closely intertwined the history of erotics in Indian culture is with the history of theater-aesthetics grounded in the discourse of love, and Foucault provides the framework for opening up an intellectual horizon of Indian thought. To do this, Gautam looks to the history of three inglorious characters in classical India: the courtesan and her two closest male companions-her patron, the dandy consort; and her teacher and advisor, the dandy guru. Foucault's distinction between erotic arts and the science of sexuality drives Gautam's exploration of the courtesan as a symbol of both sexual-erotic and aesthetic pleasure. In the end, by entwining together Foucault's works on the history of sexuality in the West and the classical Indian texts on eros, Gautam transforms our understanding of both, even as he opens up new ways of investigating erotics, aesthetics, gender relations, and subjectivity.