fleshliness


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flesh·ly

 (flĕsh′lē)
adj. flesh·li·er, flesh·li·est
1. Of or relating to the body; corporeal. See Synonyms at bodily.
2. Of, relating to, or inclined to bodily and especially sexual pleasure; sensual.

flesh′li·ness n.
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fleshliness

noun
A preoccupation with the body and satisfaction of its desires:
Translations
References in periodicals archive ?
The dark 'Issie' struck Michael's senses as uncorseted, frank in her just-ripe fleshliness, a body that awed his imagination, as no wonder it did his son's.
294), but he cannot ask whether this perceived spirituality is a reflection of her essence or an image of his fear that the fleshliness embodied in Arabella will once again ensnare him.
Janel Mueller says that the central mystery of Salve Deus is "Lanyer's understanding of Christ's incarnation." (53) Wendy Wall argues that "[h]er text becomes the Word Incarnate" as she "call[s] attention to the fleshliness of her own representation of the Word." (54) According to Jan Frans van Dijkhuizen, "Lanyer's poetry literally embodies the suffering Christ." (55) In linking this incarnational thesis specifically to Lanyer's dedications, Esther Gilman Richey suggests that "the epistolary form participates in the virgin's incarnational act" by "reproducing Christ" and "deliver[ing]" him through her book.
However, in her vitriolic description of the piece, Lucy clearly connects the woman's size to both her indolence and immorality, equating fleshliness with promiscuity (Michie 1987, 27; Silver 2004, 101).
The 'Mona Hatoum' exhibition at Tate Modern is a perfect example: in work after work, the artist seeks the missing link between the fleshliness of our embodied humanity and our more spiritual pretensions to beauty, truth and goodness, that seem of an entirely different order.
Gunther (2013, 199) describes this tone most clearly: "Epode 8 reduces the obscenities of Archilochus' figurative language to nuda verba and creates, in its compression of detail and devastating realism, an image of aged flesh and repulsive sexuality that in its shocking violence and realism is, to my knowledge, without peer in ancient literature and perhaps even surpasses the brutality of modern exposures of repulsive fleshliness."
The shocking apparition of the "red wet thing' erupting through the barrier of elegiac language, has something obscene in its lack of definition, its incredible fleshliness contrasting with the disincarnate flowers, its disquieting sexual associations.
This vision is one of actors who are all too human on both sides: white men incapable of making Christs of the slaves they torture, and slaves whose fleshliness causes them to fall from their crosses and thereby contribute to the cycle of violence and oppression rather than converting it, Christ-like, into a tale of universal ascension.