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At the last minute, she’s joined by her long-lost friend Sally-an eccentric shopaholic who travels with a jam-packed monster suitcase. But, as Bernard explains in her uproarious account of that madcap adventure, not everything goes quite as planned. That way you’ll be ready should love (or lust) strike. What do you do when your boyfriend dumps you and you’re nursing a broken heart? For Trisha Bernard, the answer’s clear: escape to India, armed with a copy of the Kama Sutra. With the Kama Sutra Under My Arm Book Description : Publisher : Sterling Publishing Company, Inc.Gautam's twining of aims and subjects-Foucault's western philosophy of pleasure and India's classic text on eros (anchored in art and aesthetics)-transforms both the modern and the ancient texts with new understandings, and as new forms of investigating erotics and subjectivity itself. The scope broadens ambitiously, to an inquiry on the nature of knowledge formation, erotics, theater, and gender relations in premodern Indian society and culture-as they converged on the historical figures of the courtesan and her male counterpart, the dandy. Foucault provides a framework for opening up the intellectual horizon of Indian thought it is his distinction between ars erotics (erotic arts) and scientia sexualis (science of sexuality) that fuels Gautam's exploration of the courtesan as symbol of both erotic and aesthetic pleasure, particularly in her role as a wife to her patron, which entails the morphing of erotics into a form of theater.
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The book shows how closely intertwined the history of erotics in ancient Indian culture is with the history of theater-aesthetics. Gautam also takes up the Natyasastra (the Kamasutra's twin), locating in the first the themes of sexual-erotic pleasure, and locating in the second the classical Indian view of theater, music, dance, and aesthetic pleasure. Gautam has here laid out the first serious reading of Michel Foucault in relation to key Sanskrit texts, and-what may be a surprise to many-he has written the first book-length work in English on the nature and origin of the Kamasutra. 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. 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. 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.
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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. Gautam lays out the nature and origin of this iconic Indian text and engages in the first serious reading of its relationship with Foucault. In Foucault and the "Kamasutra", Sanjay K. Yet, there is much, much more to it embedded in the text is a vision of the city founded on art and aesthetic pleasure. The Kamasutra is best known in the West for its scandalous celebration of unbridled sensuality. Publisher : University of Chicago Pressįoucault and the Kamasutra Book Description :.