Satyriasis
The pornographic afterlife of Vaslav Nijinsky
Bibliographic Data
| ID | 13086250 |
|---|---|
| Authors | Katie Horowitz (0000-0002-8319-2188, Davidson College, corresponding author) |
| Year | 2015 |
| Volume | 3 |
| Issue | 1 |
| Pages | 3-19 |
| Publication date | 2015-12-16 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Porn Studies (JOURNAL) |
| Journal identifiers | ISSN: 2326-8743 • E-ISSN: 2326-8751 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/23268743.2015.1108222 |
| OpenAlex | W2157914481 |
| Language | EN |
| References cited | 4 |
In 1912, Vaslav Nijinsky was the world's first male ballet star. But with his choreographic debut, the overtly sexual Afternoon of a Faun, Nijinsky's queer eroticism began to outstrip his virtuosity in the public imaginary. In the ensuing decades, Nijinsky's body became a metaphor for ambiguous sexuality, mobilized by queer observers who read in Faun’s final autoerotic gesture a refusal of the heteronormative strictures of ballet. His image, often conflated with his legendary turn as the Faun, inspired homoerotic painting, photography, literature, dance, and film. Focusing primarily on boudoir photography of male dancers and the first widely-distributed gay pornographic film, Wakefield Poole's Boys in the Sand, this article traces the erotic legacy and lineage of Nijinsky and his Faun, proposing that any genealogy of gay moving-image pornography must acknowledge the foundational role played by Nijinsky and, specifically, by Afternoon of a Faun’s innovative mode of bodily display
Art · Art history · Ballet · Dance · Eroticism · Human sexuality · Iconography · Lesbian · Literature · Painting · Pornography · Psychoanalysis · Queer · Sociology · Spectacle · Style (visual arts · The Imaginary · Visual arts · Diversity and Impact of Dance · French Historical and Cultural Studies · Gender Studies · Historical Gender and Feminism Studies · Psychology
| Citation velocity | historical |
|---|---|
| Highly cited | No |