eroticism

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erotism

 [er´o-tizm]
a sexual instinct or desire; the expression of one's instinctual energy or drive, especially the sex drive.
anal erotism in psychoanalytic theory, fixation of libido at (or regression to) the anal phase of infantile development, producing egotistic, dogmatic, stubborn, miserly character.
genital erotism in psychoanalytic theory, achievement and maintenance of libido at the genital phase of psychosexual development, permitting acceptance of normal adult relationships and responsibilities.
oral erotism in psychoanalytic theory, fixation of libido at (or regression to) the oral phase of infantile development, producing passive, insecure, sensitive character.

er·o·tism

, eroticism (er'ō-tizm, ĕ-rot'i-sizm),
A condition of sexual excitement.

eroticism

(ĭ-rŏt′ĭ-sĭz′əm)
n.
The quality of being erotic or being represented as erotic.

e·rot′i·cist n.

eroticism

[irot′isiz′əm]
Etymology: Gk, erotikos, sexual love
1 sexual impulse or desire.
2 the arousal or attempt to arouse the sexual instinct through suggestive or symbolic means.
3 the expression of sexual instinct or desire.
4 an abnormally persistent sexual drive. Also called erotism. See also anal eroticism, oral eroticism.

eroticism

Erotism Sexology Personal experience and expression of one's genital arousal and functioning as ♂ or ♀, alone or with a partner, vis-á-vis arousing ideation, imagery, and sensory input. See Pornography, Sexuality.

eroticism

1. The elements in thought, pictorial imagery or literature which tend to arouse sexual excitement or desire.
2. Actual sexual arousal.
3. A greater than average disposition for sex and all its manifestations.
4. Sexual interest or excitement prompted by contemplation, or stimulation, of areas of the body not normally associated with sexuality. The terms anal and oral eroticism are used in two senses-in reference to adult physical sexual activity and in a theoretical Freudian psychoanalytic sense.
References in periodicals archive ?
Of particular interest to the feminist writers is the contrast drawn between true erotic love that draws healthily on the power of eros and leads to justice, and the twisted suppressed eroticization of power.
Medem uses the erotic love scenes to illustrate the characters' sexual obsession.
develops models for Catholic attitudes toward sacred place and time, erotic love and sexuality, the image of God as mother, community and neighborhood, hierarchical order, and personal happiness and salvation.
Three newly released books - a novel and two works of non-fiction - explore the shadings of these views, from the rigid lines of Orthodox Judaism found in closed communities to the more esoteric, touchy-feeling realm of mystical Christianity explored via an erotic love story.
From the Greeks and their art of learning to live through love, to the loss of this culture through Hellenism and subsequent Roman world dominance, to the Middle Ages and the female side's gains in value due to the cult of courtly love, to Dante and the Renaissance with Pietro Aretino's emphasis on erotic love, we are taken into the Baroque and Rococo centuries, where love becomes more of a calculated male-female power play.
While the sanguine temperament was regarded as the next best thing to an unattainably perfect humoral balance, it had its dangers, the most serious of which were a tendency to overindulge in food and drink, and an extreme susceptibility to erotic love.
It was the first time in his life that he was totally in love, that kind of hypnotic, physical, deeply erotic love.
And 1959 saw a distinctly new turn in his parallel production of combine sculptures: Canyon, Pail for Ganymede, and Gift for Apollo all sort through Greek mythology with evident purpose, shifting Rauschenberg's usual discarded and junk materials into complex reflections on paternal and erotic love between men.
As the author wends his way through the characteristics of Christian love (Kjerlighed), contrasting it sharply with erotic love (Elskov), we are treated to stunning dialectic of revelation and worldliness, principled duty and emotional inclination, Biblical clarity and the pleasing ambiguity of the poets.
The authors focus primarily on the manifestations of love in the three contrasting narrative frameworks contained in Nabokov's novel: moral love in the forward, erotic love in the novel proper, and aesthetic love in the afterward.
We should remember that Lorenzo himself had turned his back on the youthful idea of erotic love praised in his early poetry.