Nina Attwood – författare

The concept of sex addiction took hold in the 1980s as a product of cultural anxiety. Yet, despite being essentially mythical, sex addiction has to be taken seriously as a phenomenon. Its success as a purported malady lay with its medicalization, both as a self-help movement in terms of self-diagnosis, and as a rapidly growing industry of therapists treating the new disease. The media played a role in its history, first with TV, the tabloids and the case histories of claimed celebrity victims all helping to popularize the concept, and then with the impact of the Internet.This book is a critical history of an archetypically modern sexual syndrome. Reay, Attwood and Gooder argue that this strange history of social opportunism, diagnostic amorphism, therapeutic self-interest and popular cultural endorsement is marked by an essential social conservatism: sex addiction has become a convenient term to describe disapproved sex. It is a label without explanatory force.This book will be essential reading for those interested in sexuality studies, contemporary history, psychology, psychiatry, sociology, media studies and studies of the Internet. It will also be of interest to doctors and therapists currently working in this and related fields.

The concept of sex addiction took hold in the 1980s as a product of cultural anxiety. Yet, despite being essentially mythical, sex addiction has to be taken seriously as a phenomenon. Its success as a purported malady lay with its medicalization, both as a self-help movement in terms of self-diagnosis, and as a rapidly growing industry of therapists treating the new disease. The media played a role in its history, first with TV, the tabloids and the case histories of claimed celebrity victims all helping to popularize the concept, and then with the impact of the Internet.This book is a critical history of an archetypically modern sexual syndrome. Reay, Attwood and Gooder argue that this strange history of social opportunism, diagnostic amorphism, therapeutic self-interest and popular cultural endorsement is marked by an essential social conservatism: sex addiction has become a convenient term to describe disapproved sex. It is a label without explanatory force.This book will be essential reading for those interested in sexuality studies, contemporary history, psychology, psychiatry, sociology, media studies and studies of the Internet. It will also be of interest to doctors and therapists currently working in this and related fields.

Attwood examines Victorian attitudes to prostitution across a number of sources: medical, literary, pornographic.

From the 1930s to the 1970s, in New York and in Paris, daring publishers and writers were producing banned pornographic literature. The books were written by young, impecunious writers, poets, and artists, many anonymously. Most of these pornographers wrote to survive, but some also relished the freedom to experiment that anonymity provided - men writing as women, and women writing as men - and some (Anaïs Nin, Henry Miller) went on to become influential figures in modernist literature. Dirty books tells the stories of these authors and their remarkable publishers: Jack Kahane of Obelisk Press and his son Maurice Girodias of Olympia Press, whose catalogue and repertoire anticipated that of the more famous US publisher Grove Press. It offers a humorous and vivid snapshot of a fascinating moment in pornographic and literary history, uncovering a hidden, earlier history of the sexual revolution, when the profits made from erotica helped launch the careers of literary cult figures.

An intimate history of the pornographic publisher behind some of the greatest works of the twentieth-century avant-garde.From the 1930s to the 1970s, in New York and in Paris, daring publishers and writers were producing banned pornographic literature.The authors of the books were young, impecunious writers, poets and artists. Most of them wrote to survive, but some relished the freedom to experiment that anonymity provided - men writing as women, women writing as men - and some, such as Anaïs Nin and Henry Miller, went on to become influential figures in modernist literature.Dirty books tells the stories of these writers and their remarkable publishers: Jack Kahane of Obelisk Press and his son Maurice Girodias of Olympia Press, whose catalogue and repertoire anticipated that of the more famous US publisher Grove Press.