scholarly journals Medicalization of Sexual Desire

2021 ◽  
Vol 17 (2) ◽  
Author(s):  
Jacob Stegenga

Medicalisation is a social phenomenon in which conditions that were once under legal, religious, personal or other jurisdictions are brought into the domain of medical authority. Low sexual desire in females has been medicalised, pathologised as a disease, and intervened upon with a range of pharmaceuticals. There are two polarised positions on the medicalisation of low female sexual desire: I call these the mainstream view and the critical view. I assess the central arguments for both positions. Dividing the two positions are opposing models of the aetiology of low female sexual desire. I conclude by suggesting that the balance of arguments supports a modest defence of the critical view regarding the medicalisation of low female sexual desire.

2003 ◽  
Vol 80 ◽  
pp. 76 ◽  
Author(s):  
S. Davis ◽  
M. Rees ◽  
C. Ribot ◽  
A. Moufarege ◽  
C. Rodenberg ◽  
...  

1997 ◽  
Vol 12 (1) ◽  
pp. 95-99 ◽  
Author(s):  
Gilles Trudel ◽  
Lyne Landry ◽  
Yvette Larose

2021 ◽  
Vol 83 (1) ◽  
pp. 1062-1067
Author(s):  
Ahmed SA Abouroab ◽  
Sherif Refaat Ismail ◽  
Hamdy Foad Aly Marzok

Author(s):  
Lorna Hutson

Post-Freudian and post-Foucauldian readings of A Midsummer Night’s Dream assume that the play celebrates the freeing-up of female sexual desire from neurotic inhibitions or disciplinary norms. But this is incompatible with what we know historically about 16th-century society’s investment in female chastity. This paper addresses the problem of this incompatibility by turning to Shakespeare’s use of forensic or legal rhetoric. In the Roman forensic rhetoric underlying 16th-century poetics, probable arguments of guilt or innocence are ‘invented’ from topics of circumstance, such as the Time, Place or Manner of the deed. The mysterious Night, Wood and Moonlight of Shakespeare’s play can be seen as making sexual crimes (violence, stealth, infidelity) take on the form of probability and fairy agency. The play thus brilliantly represents the stories of Theseus’s notorious rapes, abandonments and perjuries as fearful ‘phantasies’ or imaginings experienced by Hermia and Helena. This explains how the Victorians could interpret the play as a chaste, childlike ballet, while moderns and postmoderns take it to be a play about psychological repressions working against the free play of sexual desire.


1989 ◽  
Vol 23 (2) ◽  
pp. 221-234 ◽  
Author(s):  
Patricia Schreiner-Engel ◽  
Raul C. Schiavi ◽  
Daniel White ◽  
Anna Ghizzani

2018 ◽  
Vol 10 (4) ◽  
pp. 281-286 ◽  
Author(s):  
Maxime Charest ◽  
Peggy J. Kleinplatz

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