Nineteenth-century Japanese literary discourse and narrative developed a striking preoccupation with ninjō—literally “human emotion,” but often used in reference to amorous feeling and erotic desire. For many writers and critics, fiction’s capacity to foster both licentiousness and didactic values stood out as a crucial source of ambivalence. Simultaneously capable of inspiring exemplary behavior and a dangerous force transgressing social norms, ninjō became a focal point for debates about the role of the novel and a key motor propelling narrative plots. In Licentious Fictions, Daniel Poch investigates the significance of ninjō in defining the literary modernity of nineteenth-century Japan. He explores how cultural anxieties about the power of literature in mediating emotions and desire shaped Japanese narrative from the late Edo through the Meiji period. Poch argues that the Meiji novel, instead of superseding earlier discourses and narrative practices surrounding ninjō, complicated them by integrating them into new cultural and literary concepts. He offers close readings of a broad array of late Edo- and Meiji-period narrative and critical sources, examining how they shed light on the great intensification of the concern surrounding ninjō. In addition to proposing a new theoretical outlook on emotion, Licentious Fictions challenges the divide between early modern and modern Japanese literary studies by conceptualizing the nineteenth century as a continuous literary-historical space.

Licentious Gotham, set in the streets, news depots, publishing houses, grand jury chambers, and courtrooms of the nation's great metropolis, delves into the stories of the enterprising men and women who created a thriving transcontinental market for sexually arousing books and pictures. The experiences of fancy publishers, flash editors, and racy novelists, who all managed to pursue their trade in the face of laws criminalizing obscene publications, dramatically convey nineteenth-century America's daring notions of sex, gender, and desire, as well as the frequently counterproductive results of attempts to enforce conventional moral standards. In nineteenth-century New York, the business of erotic publishing and legal attacks on obscenity developed in tandem, with each activity shaping and even promoting the pursuit of the other. Obscenity prohibitions, rather than curbing salacious publications, inspired innovative new styles of forbidden literature--such as works highlighting expressions of passion and pleasure by middle-class American women. Obscenity prosecutions also spurred purveyors of lewd materials to devise novel schemes to evade local censorship by advertising and distributing their products through the mail. This subterfuge in turn triggered far-reaching transformations in strategies for policing obscenity. Donna Dennis offers a colorful, groundbreaking account of the birth of an indecent print trade and the origins of obscenity regulation in the United States. By revealing the paradoxes that characterized early efforts to suppress sexual expression in the name of morality, she suggests relevant lessons for our own day.

Licentious Worlds is a history of sexual attitudes and behavior through five hundred years of empire-building around the world. In a graphic and sometimes unsettling account, Julie Peakman examines colonization and the imperial experience of women (as well as marginalized men), showing how women were not only involved in the building of empires, but how they were also almost invariably exploited. Women acted as negotiators, brothel keepers, traders, and peace keepers—but they were also forced into marriages and raped. The book describes women in Turkish harems, Mughal zenanas, and Japanese geisha houses, as well as in royal palaces and private households and onboard ships. Their stories are drawn from many sources—from captains’ logs, missionary reports, and cannibals’ memoirs to travelers’ letters, traders’ accounts, and reports on prostitutes. From debauched clerics and hog-buggering Pilgrims to sexually-confused cannibals and sodomizing samurai, Licentious Worlds takes history into its darkest corners.

Only Imagine offers a theory of fictional content or, as it is sometimes known, 'fictional truth'. The theory of fictional content Kathleen Stock argues for is known as 'extreme intentionalism'; the idea that the fictional content of a particular work is equivalent to exactly what the author of the work intended the reader to imagine. Historically, this sort of view has been highly unpopular. Literary theorists and philosophers alike have poured scorn upon it. The first half of this book attempts to argue that it should in fact be taken very seriously as an adequate account of fictional truth: better, in fact, than many of its more popular rivals. The second half explores various explanatory benefits of extreme intentionalism for other issues in the philosophy of fiction and imagination. Namely, can fiction give us reliable knowledge? Why do we 'resist' imagining certain fictions? What, in fact, is a fiction? And, how should the imagination be characterised?

A work of dangerous and haunting beauty by America's last real literary outlaw. Under Tiberius is a thrilling story of crime and deceit involving the man who came to be called Jesus Christ. Deep in the recesses of the Vatican, Nick Tosches unearths a first-century memoir by Gaius Fulvius Falconius, foremost speechwriter for Emperor Tiberius. The codex is profound, proof of the existence of a Messiah who was anything but the one we've known -- a shabby and licentious thief. After encountering him in the streets of Judea, Gaius becomes spin doctor to Jesus, and the pair schemes to accrue untold riches by convincing the masses that Jesus is the Son of God. As their marriage of truth and lies is consummated, friendship and wary respect develop between these two grifters. Outrageous and disturbing, Under Tiberius is as black as the ravishing night, shot through with fierce and brilliant light.

Josephine: I lost my life when I turned eighteen. Well, not technically. Technically, I'm still alive. My heart beats, and blood continues to pump through my veins. But my dreams destroyed my family, which ultimately, destroyed who I was. Happiness. What is happiness? Helping others? Making sure I have a smile on my face, especially in the moments when all I want is to die? Then yes. I am happy. Alessandro: I wanted to be a doctor. Instead, I had to fill my brother's role in the family business. And now? Now, I am a heartless, cold-blooded killer. Not every story has a happily ever-after. Mine vanished the day my brother was murdered. That day, who I was, died with him. When Josephine and Alessandro's paths collide, their fates try to intervene and save each other. But can they be saved? Will the secrets they keep and the betrayals they are faced with destroy what they share? Or does love truly conquer all? ***WARNING*** This book is rated for mature audiences only, due to sexual content, including violence, sexual violence, and strong language. It also contains how one person can help a human being overcome the struggles from such traumatic events.