Showing results for "Pleasure" in Gender Studies

How do we make social justice the most pleasurable human experience? How can we awaken within ourselves desires that make it impossible to settle for anything less than a fulfilling life? Author and editor Adrienne Maree Brown finds the answer in something she calls “pleasure activism,” a politics of healing and happiness that explodes the dour myth that changing the world is just another form of work. Drawing on the black feminist tradition, she challenges us to rethink the ground rules of activism.

"Was macht eigentlich das Unterschichtskind auf dem Roten Teppich?", fragt eine Besucherin auf dem Münchner Filmfest in meine Richtung. Ja, was macht sie da? Sie ist auf einer Mission. Die Tussi suggeriert durch ihre Erscheinung ein grenzüberschreitendes Begehren. Es geht um Kitsch, Glamour, Trash, es geht um Camp. Es geht um Körper, Identitäten. Es geht um Strass, um Klasse und um künstliche Fingernägel. Pleasure ist eine atemberaubend eloquente Tour de Force durch die Luxus-Triade Schlaf (meterlange Hotelbett-Laken!), Nahrung (Schlemmermaus!) und Kleidung (Dior, aber fake!).

More Orgasms Please is an open, honest and at moments hilarious dive into all aspects of sex for women. It covers feminist porn, body image, menopause and much more. Like the podcast that inspired it, More Orgasms Please is like the best sort of chat between friends: punchy and playful, normalising and educating. It is an eye-opening listen that puts women’s bodies and our right to pleasure firmly on the map. Think of it as ‘Couch to 5k’...for orgasms.

After New York City emptied out in March 2020, Glynnis MacNicol, aged forty-six, unmarried with no children, spent sixteen months alone in her tiny Manhattan apartment. The isolation was punishing. A year without touch. Women are warned of invisibility as they age, but this was an extreme loneliness no one can prepare you for. When the opportunity to sublet a friend's apartment in Paris arose, MacNicol jumped on it. Leaving felt less like a risk than a necessity. What follows is a decadent, joyful, unexpected journey into one woman's pursuit of radical enjoyment.

At the heart of this history is the female body. The century-span between the crinoline and the bikini witnessed more mutations in the ideal western woman's body shape than at any other period. In this richly detailed account, Virginia Nicholson takes us to the Frontline of Beauty to reveal the power, the pain and the pleasure involved in adorning the female body. Encompassing two world wars and a revolution in women's rights, All the Rage tells the story of western female beauty from 1860 to 1960.

In her remarkable literary debut, Taylor (AKA Self Esteem) will explore the devolution of a woman. As Self Esteem, Rebecca Taylor has given voice to the feelings of insecurity and misogyny-induced frustration whilst emboldening a whole new audience with powerful, truth-telling lyricism. Her latest album 'Prioritise Pleasure' was voted the Guardian's top album of 2021. She has written the music for Prima Facie, Jodie Comer's theatre debut and music for Dolly Alderton's TV Adaptation for the BBC of Everything I Know About Love.

Four months postpartum with her second child, Catherine Simone Gray is back at her doctor’s office, surveying a childbirth wound that refuses to mend. Proud flesh: tissue that overheals to become its own wound. Pregnancy and motherhood had been physically vulnerable for Gray, but this renders her most intimate parts unrecognizable, like her body is no longer her own. Has it ever been her own? As she gets to know her body in its new form, she encounters, too, the girl she’d been at seventeen.

Sugar substitutes have been a part of American life since saccharin was introduced at the 1893 World's Fair. In Empty Pleasures, the first history of artificial sweeteners in America, Carolyn de la Pena blends popular culture with business and women's history, examining the invention, production, marketing, regulation, and consumption of sugar substitutes such as saccharin, Sucaryl, NutraSweet, and Splenda.

In The Pleasure Gap, Katherine Rowland rejects the idea that women should settle for diminished pleasure; instead, she argues women should take inequality in the bedroom as seriously as we take it in the workplace and understand its causes and effects. Drawing on extensive research and interviews with more than 100 women and dozens of sexual health professionals, Rowland shows that the pleasure gap is neither medical malady nor psychological condition but rather a result of our culture's troubled relationship with women's sexual expression.