Sexual Curiosity : Circle By Suzanne Bachner

The methods in which men and women communicate are eminently different. This being so, their external state is an indicator of their inner state, but men and women have different external states to express themselves. This is especially evident among children and individuals in relationships, and altered between a couple who tries to adjust their behavior. Deborah Tannen, the author of “Sex, Lies, and Conversation,” argues that boys are girls are taught to have a differ inner state, that males and females usually have the same inner state but express them differently when communicating, and that individuals in romantic relationships can alter the way they present their outer state to represent their inner state in a way their partner can relate to.

“The Boys in the Band”, is a play about male homosexual relationships and the revealing truths of being gay in the 1960s. The play gives audiences a distinct perspective of homosexuality on the stage up until that time. The setting is in a New York City apartment that is owned by Michael. He and his gay friends are preparing a birthday party for Harold. Alan McCarthy, a former college roommate of Michael, also shows up at the party unexpectedly. In this paper, we will focus on Alan and Harold and their behaviors and impacts in the play.

Reading Response to “Looking at Women” written by Scott Russell Sanders is an article about Sanders

central to the play. I am going to look at only the first act of the

“Sex Without Love” is an illustrative poem about people that can just have a one-night stand. This poem suggests that the people who “make love without love” are the most shallow and uncaring people that there could be. They only care about one thing, and that is their own pleasure and not the feelings of the person they are making love to “…loveless sex stems not from some noble existential angst but simply from intellectual and moral shallowness.” (McGiveron, Rafeeq, Olds’s Sex Without Love 60). Old sees something beautiful with the way that people make love without love, she compares them to figure skaters, the routines are always beautiful, and they must be in sync or all will fail, “…it also reveals an emphasis on physical-and metaphorical- surfaces.” (McGiveron, Rafeeq, Olds’s Sex Without Love 60). This shows that there is more than meets the eye when

Queer Compulsions by Amy Sueyoshi serves as a wonderful insight of various struggles of Japanese immigrants with Americans in its depiction of specific individual of Yone Noguchi through his intimate relationship with other Americans of both sexes. Through the life of Noguchi, the author aims to touch on both racial and sexual (both sexual identity and gender) standards which were expected at the time, and how those affected not only the life of Noguchi, but also the lives of many Japanese immigrants. Most part of the book, from Chapter 1 to 4, the author talks extensively about relationships (not only intimate/family relationships, but also other relationships with general American population, especially Bohemian) that Noguchi had from the beginning of his life.

The affair between Charlotte and Rodney was a dull one until they began killing each other. Within the play 7 Stories by Morris Panych, the character Charlotte outlines in a particularly insightful monologue how the energy of her affair with Rodney had deteriorated to a state where the couple got so tired of one another, they began to hate each other. Thus, to rid themselves of the uniformity of their days, they began to play at murdering one another. This may seem to be a strange practice, but in fact the role playing that these two do infuses the relationship with new energy – by this escape from reality, the couple found a way to enjoy being together again. Characters trying to escape reality is something that is seen multiple times in

Sexuality is a prevalent theme in Angela Carter’s story The Bloody Chamber. Sexual violence within a relationship often reveals aspects of each party’s identity and character as well as affects its power dynamics. Carter depicts sex both explicitly and implicitly in the story through the heroine’s own thoughts of her newfound sexuality and her sexual experiences with the Marquis. Carter’s implicit and explicit portrayals of sex and sexuality in The Bloody Chamber reflect changes in the power dynamic between the heroine and the Marquis throughout the text, develop the identity of the heroine and reveal aspects of the Marquis’ character, and challenge notions of gender.

Bailey, Beth. Sex in the Heartland. Cambridge, Massachusetts, and London, England: Harvard University Press, 1999.

Though often times in the world one may get caught up in the secrets and rumours about them or those around them, it is these secrets and rumours that shape a human being’s character and relationships with those around them. In the Shakespearean tragedy, Romeo and Juliet, the effects that secrets have on characters’ relationships shape the play, yet more specifically, it is the literal secrets regarding relationships that shape such relationships, which, in turn, shapes the play. Different relationships as outlined thoroughly in the play are not only a result of the secrets themselves, but the location in which these certain secrets are initially portrayed.

Dr. Tatiana’s Sex Advice to All Creation, written by Olivia Judson, mimics a Dear Abby column in a newspaper, in which her audience, ranges from a honeybee to spotted hyena, write-in and ask for help with their sex lives. She covers a slew of different sex topics, some more pleasant than others, such as incest, cannibalism, promiscuousness, and asexual reproduction. The book is truly a witty yet entertaining excursion of the natural history and the evolutionary biology of sex. Judson’s objective is to teach her audience about biology, specifically sexual biology.

shall firstly do a summery of the play and give a basic image of what

The tangled web of relationships that connect each character in this story are what drive Congreve's play forward. With each past affair (or current) affair that

“It is this concept-prodigious or unnatural love--which, I will argue, constitutes the subtextual theme of the play. Conveyed primarily through a pervasive pattern of sexual puns, this theme is part of a larger satire on papal Rome, with Caesar the parodic savior or Antichrist. [ 10]” (Parker)

Most of the characters in the play have a certain role and most of them have a special bond with another person and share one of the three types of love. Some characters share the love of