B007Q6XJAO EBOK (41 page)

237 majority of men: Perper’s study discussed in Andrew Trees,
Decoding Love: Why It Takes Twelve Frogs to Find a Prince and Other Revelations from the Science of Attraction
(New York: Avery/Penguin, 2009), 175.

237 series of tests: ibid.

237 “Tell me what you want!”:
Blue Valentine
, direc. Derek Cianfrance, Incentive Filmed Entertainment, 2010.

238 “The gentlemen”: Stephen Jeffreys,
The Libertine
(London: Nick Hern Books, 1994), 3.

238 Favorites of women: Lucy Hughes-Hallet,
Heroes: A History of Hero Worship
(New York: Anchor Books/Random House, 2004), 9; and Ruth Karrass,
Sexuality in Medieval Europe: Doing unto Others
(New York: Routledge, 2005), 129.

238 “foppish dreamers”: Anthony Giddens,
The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Society
(Stanford, CA: Stanford University Press, 1992), 59.

238 “have generally been scorned”: Irving Singer,
Sex: A Philosophic Primer
(New York: Rowman and Littlefield, 2001), 47.

238 How other men regard: “Jackman, Hugh: Someone Like You,”
urban cinefile
, December 13, 2011, www.urbancinefile.comau/home/view.asp?ArticleID=5040.

238 Women love him: Ben Brantley, “Hugh Jackman Keeps His Pants On,”
New York Times
, December 8, 2011.

238 “puddle[s] of desire”: Film critic Carrie Rickey of the
Philadelphia Inquirer
, quoted in Glenn Whipp, “Ladies’ Man,”
Los Angeles Daily News
, January 1, 2002.

239 He looks and moves: Tim Struby, “Hugh Jackman: Hollywood’s Baddest Good Guy,”
Men’s Fitness
, October 2011.

239 During his preparations: “Jackman, Hugh.”

239 Etiquette, she writes: Professor Marlene Powell, email, January 29, 2011.

239 Japanese folktale: See story in Stephen Nachmanovitch,
Free Play: Improvisation in Life and Art
(New York: Jeremy P. Tarcher/Penguin Putnam, 1990), 2, 1–3.

239 Can we
teach
:
Sexy Beast
, direc. Jonathan Glazer, Recorded Picture Company, 2001.

240 “Erotic charisma”: Powell, email, January 26, 2011.

240 recalls Joseph Campbell’s hero’s journey: See Joseph Campbell,
The Hero with a Thousand Faces
(Bollingen Series vol. 17) (1949; Princeton, NJ: Princeton University Press, 1972).

240 “psychological voltage”: Quoted in Len Oakes,
Prophetic Charisma: The Psychology of Revolutionary Religious Personalities
(Syracuse, NY: Syracuse University Press, 1997), 26.

241 “ineffable specialness”: Sara Wheeler,
Too Close to the Sun: The Life and Times of Denys Finch Hatton
(London: Jonathan Cape, 2006), 10.

241 “Just leave it alone”: Roland Barthes,
A Lover’s Discourse: Fragments
, trans. Richard Howard (New York: Hill and Wang/Farrar, Straus and Giroux, 1978), 137.

241 Batten explains: Mary Batten,
Sexual Strategies: How Females Choose Their Mates
(New York: Jeremy P. Tarcher/Putnam’s, 1992), 97; and Miller,
Mating Mind
,
39–45.

241 “When women start”: Quoted in William F. Allman, “The Mating Game,”
U.S. News and World Report
, July 19, 1993.

242 “deliver the greatest rapture”: Miller,
Mating Mind
, 156.

242 “almost indecent magnetism”: Quoted in Paul Chutcow,
Depardieu: A Biography
(New York: Alfred A. Knopf, 1994), 251.

243 “joie de vivre”: Quoted in ibid., 187.

243 “Gérard knows”: Quoted in ibid., 87.

243 “lovable”: Quoted in Glenn Collins, “The Mystery of Depardieu: A Gentle Heart in a Boxer’s Body,”
New York Times
, June 4, 1990.

243 Although so timid: Chutcow,
Depardieu
, 107.

244 Under an inspired teacher: Ibid., 130.

244 “whole new language”: Ibid., 148.

244 “guided him”: Ibid., 173.

244 “I always turned”: Quoted in ibid., 173.

244 “He was all there”: Quoted in ibid., 266.

244 “Eros the masterpiece”: Quoted in Roy Porter, “Libertinism and Promiscuity,” in Jonathan Miller, ed.,
Don Giovanni: Myths of Seduction and Betrayal
(New York: Shocken Books, 1990), 8.

245 “The power to charm”: Charles Darwin,
The Descent of Man
, ed. Michael T. Ghiselin (1871; New York: Dover, 2010), 172.

245 “the interesting man”: Ortega y Gasset,
On Love
, 167–190.

245 “Don Juan to his wife”: Van de Velde,
Ideal Marriage
, 10.

245 “the adulterer’s art”: Havelock Ellis,
Studies in the Psychology of Sex
(New York: Random House, 1936), vol. 2, 547.

246 “the culmination of life”: Ortega y Gasset,
On Love
, 142.

246 “the supreme thing”: Quoted in Havelock Ellis, “The Valuation of Sexual Love,” in
Studies in the Psychology of Sex
, vol. 2, 141.

246 “sing with rapture”:
Meet Joe Black
, direc. Martin Brest, City Light Films, Universal Pictures, 1998.

246 “Expect the lightning”: Ibid.

246 “The seductive”: Georges Bataille,
Eroticism: Death and Sensuality
, trans. Mary Dalwood (San Francisco: City Lights Books, 1986), 236.

246 “If you know”:
What Women Want
, direc. Nancy Meyers, Paramount Pictures, 2000.

Text Credits

Extract from the song of Peire de Valeira, in
A Handbook of the Troubadours
, ed. F. R. P. Akehurst and Judith M. Davis. © 1995 by the Regents of the University of California. Reprinted by permission of the University of California Press.

Extract from
The Second Sex
by Simone de Beauvoir, translated by Constance Borde and Sheila Malovany-Chevallier, translation copyright © 2009 by Constance Borde and Sheila Malovany-Chevallier. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

Extract from “Brown Eyed Handsome Man.” Words and Music by Chuck Berry. Copyright © 1956 (Renewed) by Arc Music Corp. (BMI) Arc Music Corp. Administered by BMG Rights Management (US) LLC for the world excluding Japan and Southeast Asia. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.

Extract from “In Da Club.” Words and Music by Curtis Jackson, Andre Young and Michael Elizondo. Copyright © 2003 Universal Music Corp., 50 Cent Music, Bug Music-Music of Windswept, Blotter Music, Elvis Mambo Music, WB Music Corp. and Ain’t Nothin’ but Funkin’ Music. All rights for 50 Cent Music Controlled and administered by Universal Music Corp. All rights for Bug Music-Music of Windswept, Blotter Music and Elvis Mambo Music administered by BMG Rights Management (US) LLC. All rights for Ain’t Nothin’ but Funkin’ Music controlled and administered by WB Music Corp. All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard Corporation.

Extract from “Just What the Love Dr. Ordered: Best Relationship Books” by Veronica Harley. April 15, 2010.

Extract from “
The Quadrille of Gender, Casanova’s ‘Memoirs’
” by Gail S. Reed, in
The Psychoanalytic Quarterly
61, 1992, page 102.

Extract from “From Champion Majorette to Frank Sinatra Date,”
Vancouver Sun
, Aug. 31, 1970. Jurgen Hesse/
Vancouver Sun.

Extract from “The Art of Loving” © the Estate of André Maurois 1940.

Extract from
The Complete K
ā
ma S
ū
tra: The First Unabridged Modern Translation of the Classic Indian Text
,
trans. A. Danielou, Rochester: Park Street Press/InnerTraditions, 1993. First printing, page 111.

Extract from “The Evolution of Homosexuality: Gender Bending: Genes that make some people gay make their brothers and sisters fecund,”
The Economist
Newspaper Ltd (Oct. 25, 2008).

Extract from “Sexual Success and the Schizoid Factor,” Rusty Rockets,
Science a GoGo
, April 26, 2006.

Extract from “The Flaw That Punctuates Perfection” by Hillary Johnson,
Los Angeles Times
, Nov. 30, 2011.

Extract from
The Art of Courtly Love
, by Andreas Capellanus, trans. John Jay Parry. Copyright © 1960 Columbia University Press. Reprinted with permission of the publisher.

Extract from
The Mating Mind: How Sexual Choice Shaped the Evolution of Human Nature
by Geoffrey Miller, copyright © 2000 by Geoffrey Miller. Used by permission of Doubleday, a division of Random House, Inc.

Extract from
Social Intelligence: The New Science of Human Relationships
by Daniel Goleman, copyright © 2006 by Daniel Goleman. Used by permission of Bantam Books, a division of Random House, Inc.

Extract from
Iron John: A Book About Men
by Robert Bly. Copyright © 1990 by Robert Bly. (Addison-Wesley Publishing Co., Reading, Mass.) Reprinted by permission of Georges Borchardt, Inc., for Robert Bly.

Extract from
Eroticism: Death and Sensuality
by Georges Bataille, trans. Mary Dalwood. © 1962 by Georges Bataille. Reprinted by permission of City Lights Books.

Excerpt from
Rameau’s Niece
by Cathleen Schine. Copyright © 1993 by Cathleen Schine. Reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Extract from
The Natural History of Love
by Morton Hunt, copyright © 1959 by Morton Hunt. Used by permission of Alfred A Knopf, a division of Random House, Inc.

Extract from
Seduction
by Jean Baudrillard, trans. Brian Singer, 1990, St. Martin’s Press, reproduced with permission of Palgrave Macmillan.

Extract from “Let Your Body Talk” by Daddy DJ. Radikal Records, 2003.

Extract from
Love, Power, and Justice
(reissue 9/92), by Paul Tillich (1954), (GB 1960).

Extracts from
The Art of Love
by Ovid, trans. Rolfe Humphries, Copyright © 1957, Indiana University Press. Reprinted with permission of Indiana University Press. Extract from
Urban Dictionary
Copyright © 2005 by Aaron Peckham.

Extract from
The Complete Essays of Montaigne
, translated by Donald M. Frame and published by Stanford University Press.

Extract from “Love and Pain,” in
Studies in the Psychology of Sex
by Havelock Ellis, © 1933, published by Random House, Inc.

Extract from
About Love: Reinventing Romance for Our Times
by Robert C. Solomon, © 1988, published by Touchstone Books.

Tom the Dancing Bug © 1992 Ruben Bolling. Reprinted with permission of Universal Uclick. All rights reserved.

Extract from
The Essential Seducer
by A. Karr, ed. Peter Haining. London: Robert Hale Ltd., 1994.

Extract from “Why a Wussy Can’t Attract Women” by David DeAngelo, DoubleYourDating.com, Feb. 28, 2007.

Illustration Credits

Giacomo Casanova (1725–1798) (engraving), Ismael Mengs (1688–1764) (after) Private Collection / Archives Charmet / The Bridgeman Art Library.

Lord Shiva Dancing on Apasmar. Courtesy of Exotic India at www.exoticindiaart.com.

Guido Reni,
Bacchus and Ariadne
, ca. 1619–1620 (oil on canvas), Gift of the Ahmanson Foundation, Digital Image at Museum Associates / LAMA. Courtesy of Los Angeles Museum of Art.

Bust of Alcibiades (ca. 450–404 BCE), Galleria degli Uffizi, Florence, Italy / The Bridgeman Art Library.

Louis François Armand de Vignerot du Plessis (1696–1788), Duke of Richelieu
(oil on canvas), Louis M. Tocque (1696–1772) / Musée des Beaux-Arts, Tours, France / Giraudon / The Bridgeman Art Library.

Gabriele D’Annunzio (1863–1938) (b/w photo) / Private Collection / Ken Welsh / The Bridgeman Art Library.

Lord Byron
, Thomas Phillips, National Portrait Gallery, London, Great Britain, Photo Snark / Art Resource, NY.

Photo shot on the Hollywood lot of RKO Pictures of Duke Ellington pursued by a group of women. Courtesy of Frank Driggs Collection of Duke Ellington Photographic Reference Prints, Archives Center, National Museum of American History, Smithsonian Institution.

Robert Louis Stevenson (b/w photo), English photographer (nineteenth century)/ Private Collection / Courtesy of Swann Auction Galleries / The Bridgeman Art Library.

Livanos & Rubirosa Slow Dance
, photographer Express Newspapers, Hulton Archive, Getty Images.

Photo of Sam Cooke, photographer Michael Ochs, Michael Ochs Archives, Getty Images.

Former President Bill Clinton signing books at Books and Books, photographer Vallery Jean, Getty Images Entertainment, Getty Images.

Clemens Lothar Wenzel, Prince Metternich, 1815
(oil on canvas), Sir Thomas Lawrence (1769–1830) / The Royal Collection © 2011 Her Majesty Queen Elizabeth II / The Bridgeman Art Library.

Denis Diderot, 1767, Louis Michel van Loo (1707–1771), Louvre, Paris, France, photographer Erich Lessing/Art Resource, NY.

Aldous Huxley, photographer Edward Gooch, Hulton Archive, Getty Images.

Portrait of Sir Walter Raleigh
, 1598 (oil on panel), William Segar (fl. 1585–d. 1633) (attributed to) / National Gallery of Ireland, Dublin, Ireland / The Bridgeman Art Library.

Johann-Baptist I. Lampi,
Portrait of Prince Grigory Potyomkim-Tavrichesky
(oil on canvas)/ The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum/photo by Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets.

Portrait of Franz Liszt, 1811–1886, Hungarian Composer, Musée Carnavalet, Paris, Photo Alfredo Dagli Orti / The Art Archive at Art Resource, NY.

Portrait of François-René, viscount of Chateaubriand (1768–1848), Meditating in the Roman Ruins with a View of the Colosseum
, Anne Louis Girodet de Roussy-Trioson, 1811 (oil on canvas), Photo Gérard Blot, Châteaux de Versailles et de Trianon, Versailles, France. Réunion des Musées Nationaux / Art Resource, NY.

Portrait of Carl Gustav Jung (1875–1961) (b/w photo), Swiss School (twentieth century), Archives Larousse, Paris, France / Giraudon / The Bridgeman Art Library.

Roald Dahl, (1916–1990), ca. 1970, photographer Paul Popper / Popperfoto / Contributor, Popperfoto Collection, Popperfoto/Getty Images.

Mick Jagger, 53rd Annual Grammy Awards Show, photographer Kevin Winter/Staff, Getty Images Entertainment, Getty Images.

Warren Beatty on the set of
Splendor in the Grass
. Courtesy of Wesleyan University Cinema Archives.

Photo of Jack London in a bathing suit. This image is reproduced by permission of The Huntington Library, San Marino, California.

Francoise Dorleac and David Niven, photo Time Life Pictures / Contributor, Time & Life Pictures Collection, Time & Life Pictures/Getty Images.

Photo of Gérard Depardieu, Courtesy of Thomson Reuters.