Desire
Related: preference - libido - lust - motivation
Key trope in: surrealism
By title: That Obscure Object of Desire (1977) - Desire Unbound (exhibition on surrealism)
Definition
Desire can refer to preference, a concept of lack in Lacanian psychoanalytic theory and motivation, thought that leads to an action. --http://en.wikipedia.org/wiki/Desire
Law Of Desire
*Law Of Desire* (La Ley Del Deseo; dir. Pedro Almodóvar, 1987) Eusebio Poncela, Carmen Maura, Antonio Banderas, Miguel Molina, Helga Liné, Victoria Abril.Surrealism, Fetishism, and Politics (2004) - Johanna Malt
Obscure Objects of Desire : Surrealism, Fetishism, and Politics (2004) - Johanna Malt [Amazon.com] [FR] [DE] [UK]
Book Description
Through the analysis of narratives, paintings and objets surréalistes by Breton, Aragon, Dali, and others, Malt examines how the object emerges as psychologically and historically marked in the surrealist context, functioning as both fetish and fetishized commodity. Responding to recent debates about the role of the uncanny and the representation of the body in surrealist art and literature, Malt's study offers new perspectives on familiar works such as the paintings of Salvador Dali as well as illuminating relatively neglected ones such as Breton's poèmes-objets.
See also: obscure - object - desire - Surrealism - fetishism - politics
The Evolution of Desire
- The Evolution of Desire: Strategies of Human Mating - David M. Buss [Amazon US] [FR] [DE] [UK]
In the pursuit of a mate, women prefer men who possess money, resources, power and high social status, while men tend to seek attractive, youthful women who will remain sexually faithful. This finding emerged from a global survey by Buss and colleagues of 10,047 persons in 37 cultures, from Australia to Zambia. Women and men are often at cross-purposes in mate selection, sexual relations and affairs. In a provocative study, Buss, a University of Michigan psychology professor, attributes these differences to ingrained psychological mechanisms which he argues are universal across cultures and rooted in each gender's adaptive responses over millennia of human evolution. One area, however, where Buss finds common ground between men and women is in their ruthless use of deception, sexual display and denigration of rivals in the pursuit of a partner. --Copyright 1994 Reed Business Information, Inc. --From Publishers WeeklyEvolutionary psychology--or, in the vernacular, "instinct"--rules the dating and mating game, and this scientist's discoveries are bound to clash with theories of patriarchy that purport to account for male dominance of wealth. Buss' synthesis of many studies conforms with popular wisdom: Women want an older man with actual or potential means; men want an attractive, younger woman; and men have a much greater proclivity for promiscuity than do women. Why? The reasons reside in vestigial "cues"... read more --This text refers to an out of print or unavailable edition of this title. --From Booklist via amazon.com
David Buss updates his classic study of the origin of human mating behavior with fascinating new research. If we all want love, why is there so much conflict in our most cherished relationships? To answer this question, says noted psychologist David Buss, we must look into our evolutionary past. Based on the most massive study of human mating ever undertaken, encompassing more than ten thousand people of all ages from thirty-seven cultures worldwide, The Evolution of Desire is the first book to present a unified theory of human mating behavior. --Book Description via amazon.com
The Desire to Desire
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The Desire to Desire: The Woman's Film of the 1940's (Theories of Representation and Difference) (1987) - Mary Ann Doane [Amazon US] [FR] [DE] [UK]
What is female spectatorship? When Hollywood films are geared for an audience of women, what ideals do they tend to promote? How should feminist theory contend with the image of women that the cinema passes on? In The Desire to Desire Mary Ann Doane responds to these questions, focusing specifically on "woman's pictures" of the 1940s. She argues that while most of the films she discusses are conceived through lenses that are masculine in nature, feminists attempting to critique these films should not dismiss them as sexist or attempt to develop a way of seeing that is simply the opposite of the one handed down. Instead, Doane offers a critique of vision itself, contrasting the way the camera views the women in these films, the way the films' female characters look out onto their worlds, and the way the Hollywood movie industry manufactures images that it expects female audiences to consume. --Amazon.com