THE BODY PARTS |
×ÀÑÒÈ ÒÅËÀ.
THE BODY PARTS.
Ãëàâà 1 "Âîæäåëåíèå".
Chapter 1 " LUST".
Áîëüøàÿ ÷àñòü òîãî, ÷òî ÿ çäåñü íàïèøó, áåçóñëîâíî, êðàéíå áàíàëüíî è íå ÿâëÿåòñÿ èíòåëëåêòóàëüíûì ïðîðûâîì â íåèçâåäàííîå, íî ìíå èíòåðåñíî ðàçîáðàòüñÿ èìåííî â äåòñêèõ âîïðîñàõ. Êòî çíàåò áîëåå ìåíÿ, ïóñòü ïèøåò äàëåå ìåíÿ. À êòî íåäîâîëåí, ïóñòü èä¸ò â çàäíèöó, åãî ñþäà íèêòî íå çâàë.
Undoutedly, the most part of this writing is extrimly banal and it is not an itellectual breakthrough in the unknown. But I like to assertain to myself the childish questions. Let one who knows more to write further. Ahd who is dissatisfied may go up the asshole because one comes here without any invitation and at his own risk.
Âîïðîñ - ïî÷åìó îäíà êàðòèíêà (èëè ÷åëîâåê â íàòóðå), âèäåîðÿä, èçîáðàæåíèå, êîðî÷å, èçëó÷àåò sex-appeal è âûçûâàåò æèâîå îòâåòíîå ÷óâñòâî, à äðóãîå èçîáðàæåíèå, íåñìîòðÿ íà àãðåññèâíóþ äåìîíñòðàöèþ âòîðè÷íûõ ïîëîâûõ ïðèçíàêîâ, ñïîñîáíî âçâîëíîâàòü òîëüêî ïÿòèêëàññíèêà, äà è òî ïðè ïåðâîì ïðåäúÿâëåíèè, äëÿ ìåíÿ ðàçðåøèëñÿ êðàéíå ïðîñòî.
There is a question. Why the one kind of the picture, the videos, any images of the human body radiates sex-appeal and more so provokes vivid response and other, while demonstrates naked sex parts can only inspire excitement of fifth grade common Scholl pupil?
For me it is simple. I decide it for myself as follows:
Ñåêñóàëüíîñòü íå â îáúåêòå, à â ñóáúåêòå. Òîëüêî ëè÷íîñòíîå âîñïðèÿòèå äåëàåò îáúåêò ñåêñóàëüíûì. À ñóáúåêòèâíî-ëè÷íîñòíîå âîñïðèÿòèå åñòü ïðåðîãàòèâà êîíêðåòíîé ëè÷íîñòè, îñíàù¸ííîé ðåìèíèñöåíöèÿìè, ôðåéäèñòñêèì ïîäñîçíàíèåì, êóëüòóðíî-èíòåëëåêòóàëüíûì àïïàðàòîì è ò.ï. Èç-çà îòñóòñòâèÿ âñåãî ïåðå÷èñëåííîãî ó æèâîòíûõ ñåêñà íåò. (Òàê çàõîòåëîñü ïëþíóòü â ñòîðîíó þíîøåñòâà ó áîëüøèíñòâà èç êîòîðûõ (íå ó âñåõ ñëàâà Áîãó) òîæå ñåêñà íåò). Õîòÿ ïðèÿòíîñòü ïðîöåññà îíè ïðåêðàñíî îñîçíàþò. Ó ñâèíüè îðãàçì áîëåå ïîëó÷àñà. Êîãäà ñ öåëüþ ñîêðàòèòü ïîïóëÿöèþ ñëîíèõàì â àôðèêå äàëè ïðîòèâîçà÷àòî÷íîå, íîðìàëüíàÿ æèçíü â ñòàäå ïðåêðàòèëàñü, âñå ðàçáèëèñü íà êó÷êè è áåñïðåðûâíî òðàõàëèñü, õîòÿ îáû÷íî íàõîäèëè áîëåå ïîëåçíîå âðåìÿïðîâîæäåíèå. Âîïðîñ ñåêñóàëüíûõ ïðåäïî÷òåíèé êðàéíå äèâåðñèôèöèðîâàí, îäíîìó íðàâèòñÿ ïîï, äðóãîìó ïîïîâà äî÷êà, à òðåòüåìó è âîâñå ñâèíîé õðÿùèê.

Çàòåì åé ïðèøëà â ãîëîâó ãåíèàëüíàÿ èäåÿ. Îíà íàíåñëà íà íîãîòêè ìàëèíîâî-êðàñíûé ëàê è âñòðåòèëà åãî áîñèêîì.
Ó íå¸ áûëè äëèííûå íîãè, â ñîâåðøåííîé ïðîïîðöèè ê òîðñó, îíà áûëà áîñèêîì è íîãòè íå áûëè íàêðàøåíû.
Ïîñëåäíèé äîí. Ìàðèî Ïüþçî.
Then she had a stroke of genius. She painted her toenails a scarlet red and greeted him barefoot.
Her legs were long in proportion to her torso, her feet were bare, there was not polish on her toenailes.
The Last Don.
She came to me, and before she knelt, I could see that her feet were bare, small and beautifully formed. The toenails were painted dark red.
Fools Die. Mario Puzo.
Èç âûøåïåðå÷èñëåííûõ âûäåðæåê ñëåäóåò, ÷òî àâòîðó ïîñòà, êàê è Ïüþçî, íðàâÿòñÿ feet ñêîðåå ÷åì legs.
ß íå çðÿ ïîìåñòèë ôîòî (äîáûòûå òàéêîì ñ íåïðèëè÷íûõ ñàéòîâ) â òàêîé ïîñëåäîâàòåëüíîñòè, ÷òîáû ïîðàäîâàòüñÿ ìíå äîñòàòî÷íî ïåðâîãî, íî èíòåðåñíî óãàäàòü òðåòüå, íå ïðàâäà ëè?


Ýòà ÷àñòü òåëà ðåäêî áûâàåò ñîâåðøåííîé èëè äàæå ïðèâëåêàòåëüíîé ôîðìû, ê òîìó æå ó äåâóøåê ñìîëîäó óðîäóåòñÿ îáóâüþ. Õóäîæíèêè êðàéíå ðåäêî èçîáðàæàþò ñòîïû, à óæ åñëè èçîáðàçÿò, òî õîòü ñâÿòûõ âûíîñè. ß ïîéìàë ñåáÿ íà ìûñëè, ÷òî íà ìîèõ ïîëîòíàõ íîãè òîæå âûåçæàþò çà ïîëîòíî, êàê ïðàâèëî. Äà, ýòî òðóäíî ðèñîâàòü, ëåã÷å ñêîíöåíòðèðîâàòüñÿ íà ïîíÿòíûõ ìîìåíòàõ, ñðàçó ïðèêîâûâàþùèõ âíèìàíèå. Î÷åíü äàâíî áûë ïðîâåä¸í ýêñïåðèìåíò. Íà ðîãîâèöó ãëàçà ïðèêëåèâàëè ìàëåíüêîå çåðêàëüöå è äàâàëè ïîñìîòðåòü èçîáðàæåíèå îáíàæ¸ííîãî òåëà, äâèæåíèÿ ãëàç ôèêñèðîâàëîñü. Êàðòèíà ïåðåìåùåíèÿ ãëàçà ïî èçîáðàæåíèþ îêàçàëàñü ïðåäñêàçóåìà. Ìàêñèìóì íà ïîëîâûõ îðãàíàõ, çàòåì êîëåíè, çàòåì áþñò è ãëàçà. Íèæå êîëåíà ïðàêòè÷åñêè íèêòî íå ñìîòðèò.

Çà óçêîé è äëèííîé ñòîïîé ñëåäóåò äëèííàÿ ãîëåíü è ñòðîéíîå áåäðî. Ìàëåíüêèõ íîæåê ó âûñîêèõ, àñòåíè÷íûõ ìîäåëåé íå áûâàåò. Ìàëåíüêàÿ ñòîïà ïðåäïîëàãàåò áîëåå øèðîêèå á¸äðà, íî ïðè ýòîì íå èñêëþ÷åíà óçêàÿ òàëèÿ.
She unbolted the door. Her hair was gathered up and she was gloriously barefoot.
Thomas Harris. Hannibal Rising. 274p.

Ñëåäóåò óñòðåìèòü ñâîé âçãëÿä íà Âåíåðó, òî åñòü íà Humanitas. Ÿ äóøà è ðàçóì ñóòü Ëþáîâü è ìèëîñåðäèå, å¸ ãëàçà ñóòü Äîñòîèíñòâî è Âåëèêîäóøèå, ðóêè – Ùåäðîñòü è Âåëèêîëåïèå, ñòîïû – Ìèëîâèäíîñòü è Ñêðîìíîñòü.
Ìàðñèëèî Ôè÷èíî. Ïèñüìà ê Ëîðåíöî äè Ïüåðôðàí÷åñêî Ìåäè÷è. Êåííåò Êëàðê. Íàãîòà â èñêóññòâå.


" Áàðîí òåàòðàëüíûì æåñòîì óêàçàë íà íîãè Ôðîíû.
- Î, âîäà îòõëûíóëà, íî çäåñü îñòàëîñü ñîêðîâèùå, áåñöåííàÿ æåì÷óæèíà!
Ïîíîøåííûå ìîêàñèíû Ôðîíû ðàçëåçëèñü îò âîäû, è ìàëåíüêèé áåëûé ïàëåö âûãëÿíóë íàðóæó.
- Çíà÷èò, ÿ î÷åíü áîãàòàÿ, áàðîí. Âåäü ó ìåíÿ èõ åù¸ äåâÿòü
- Êòî ñ ýòèì íå ñîãëàñèòñÿ! Êòî ñ ýòèì íå ñîãëàñèòñÿ! - ïûëêî âîñêëèêíóë îí".
Äæåê Ëîíäîí "Äî÷ü ñíåãîâ"


Ñîãëàñèòåñü, ýòî ïðîñòî ïðàçäíèê êàêîé-òî, áàëåò. Êñòàòè î áàëåòå, ýòîò âèä èñêóññòâà, ñòîëü ãîðÿ÷¸ ìíîþ ëþáèìûé, íåíàâèäèò ñòîïó. Çà÷åì áàëåðèíà âñòà¸ò íà ïóàíòû? Äà ÷òîáû îñòàëàñü îäíà ãîëåíü è äëèííàÿ íîãà. Î òîì, ÷òî ïðîèñõîäèò ñ íîãàìè áàëåðèíû, ÿ óæ ìîë÷ó.
HEROD: Ah, you are going to dance with naked feet. ‘Tis well! ‘Tis well. Your little feet will be like white doves. They will be like little white flowers that dance upon the trees… 736.
Salome by Oskar Wilde



Èòàê, Òàìàðà Ëåìïèöêà. Íà êàðòèíå ñåìü æåíùèí è òîëüêî òðè ñòóïíè, îäíà íå ïðîðèñîâàíà. Îá èçÿùåñòâå îñòàëüíûõ ìîæåòå ñóäèòü ñàìè.

Òèïè÷íîå íþ, íå òîëüêî äëÿ Òàìàðû - äèñòàëüíàÿ òðåòü ãîëåíè è ñòóïíè çàêðûòû, èëè âûâåäåíû çà îáðåç êàðòèíû. Ïðèìåðû ñòîëü ìíîãî÷èñëåííû, ÷òî öèòèðîâàòü íå áóäó. À âåäü ýòî îäíà èç å¸ èçâåñòíåéøèõ êàðòèí "Ïðåêðàñíàÿ Ðàôàýëà".

Âîò íå õîòåë, à åù¸ îäíó òèïè÷íóþ êàðòèíêó âñòàâëþ:"Áàíÿ" Çèíàèäû Ñåðåáðÿêîâîé. 11 æåíùèí è ïîëòîðû ñòóïíè. Ïðàâäà, ýòî ìî¸ ëè÷íîå ìíåíèå, Ñåðåáðÿêîâà â ãîëûõ æåíùèíàõ íè÷åãî íå ïîíèìàëà, õîòÿ è òèðàæèðîâàëà èõ âñþ æèçíü. Ëåìïèöêîé ïðîñòèòåëüíî, ó íå¸ ñòèëü òàêîé - æåíùèíà èç áåòîíà èëè íåðæàâåþùåé ñòàëè, à Ñåðåáðÿêîâà ïðåòåíäîâàëà íà íàòóðàëèçì, ëèðèçì, ðîìàíòèçì, ýðîòèçì è òï. Ýòî íå æåíñêàÿ áàíÿ, à êóçíèöà Ãåôåñòà êàêàÿ-òî. Êòî âèäåë ýñêèçû ôðåñîê Ñåðåáðÿêîâîé íà âûñòàâêå â Ðóññêîì, òîò ñî ìíîé ñîãëàñèòñÿ. Ôîíòàí Äðóæáà íàðîäîâ íà ÂÄÍÕ åé óêðàøàòü. Êñòàòè, íå ìîãó óäåðæàòüñÿ, â áóêèíèñòè÷åñêîì ìàãàçèíå ñìîòðåë êíèãó "Ôåíîìåí ïîðíîãðàôèè", òàê òàì îáå âûøå âûëîæåííûå êàðòèíû Ëåìïèöêîé çàïèñàíû â ïîðíîãðàôèþ. ß áû òóäà æå è ïîðòðåò àâòîðà ïðè÷èñëèë, íåëüçÿ æå òàê íå ÷óâñòâîâàòü ïðåäìåò, ñòûäíî.
Ýíãð íàêîíåö ïîçâîëèë ñåáå äàòü âîëþ ÷óâñòâàì, è âñ¸, ÷òî êîñâåííî âûðàæàëà ðóêà Òåòèè èëè ñòóïíÿ îäàëèñêè, òåïåðü (Òóðåöêàÿ áàíÿ) îáðåëî îòêðûòîå âîïëîùåíèå â ïûøíûõ á¸äðàõ, ãðóäÿõ è ðîñêîøíûõ ñëàäîñòðàñòíûõ ïîçàõ.
Êåííåò Êëàðê Íàãîòà â èñêóññòâå. 186 ñòð.
Òàê âîò, ñòóïíÿ îäàëèñêè ïî Êëàðêó âûðàæàåò ÷óâñòâåííîñòü! Âîò òà ñàìàÿ ñòóïíÿ:

Íà ìîé âçãëÿä êàêàÿ-òî íåâûðàçèòåëüíàÿ, àìîðôíàÿ. Ïðîñìîòðèòå ìîþ êîëëåêöèþ, âîò ãäå âûðàçèòåëüíûå ýêçåìïëÿðû, êàê ðåçöîì âûòî÷åíû.
À ýòî ÷üè ëàïêè? Íó, ñëàáî?


À ýòî ïî õîäó Ìåðëèí Ìîíðî. Æåíùèíà ðîäîíà÷àëüíèöà âñåõ Áàðáè, ôèãóðó êîòîðîé ëè÷íî ÿ (è ÷òî õàðàêòåðíî âñå îñòàëüíûå ìóæèêè) ñ÷èòàþò íåïîâòîð¸ííîé äî íûíå.


Õîðîøà, åäðè å¸ êî÷åð¸æêó. Ñíèìàëàñü ÷åðåç íåäåëþ ïîñëå îïåðàöèè àïïåíäèöèòà, øðàì çàìàçàëè ãðèìîì. Ôîòîøîïîâ-òî íå áûëî.

He had a fetish for her toes, and insisted on doing the nails with bright red polish at least twice a month. They'd seen it in Bull Durham, and though he wasn't as neat and sober as Kevin Costner, she had grown to enjoy the intimacy of it.
"The Pelican Brief" John Grisham.
Ïàëü÷èêè å¸ íîã áûëè åãî ôåòèøåì è îí íàñòàèâàë, ÷òîáû íîãîòêè ïîêðûâàëèñü ÿðêî êðàñíûì ëàêîì íå ðåæå, ÷åì äâà ðàçà â ìåñÿö. Îíè âèäåëè ýòî â Bull Durham, è õîòÿ îí íå áûë ñòîëü àêêóðàòåí è òðåçâ, êàê Êåâèí ʸñòíåð, ñî âðåìåíåì åé íà÷àëà íðàâèòüñÿ èíòèìíîñòü ïðîöåäóðû.
Darby sat in a chair and pulled her feet under her. Red toenails.
....................
He lifted her feet and sat at the end of it. They were in his lap. red toenails. He rubbed her ankles and tought only of this first major event - the holding of the feet. It was terribly intimate for him, but didn't seem to faze her.
"The Pelican Brief" John Grisham.
The human foot and ankle is a strong and complex mechanical structure containing exactly 26 bones, 33 joints (20 of which are actively articulated), and more than a hundred muscles, tendons, and ligaments.[1]
An anthropometric study of 1197 North American adult Caucasian males (mean age 35.5 years) found that a man's foot length was 26.3 cm with a standard deviation of 1.2 cm.[2]
The foot can be subdivided into the hindfoot, the midfoot, and the forefoot:
The hindfoot is composed of the talus (or ankle bone) and the calcaneus (or heel bone). The two long bones of the lower leg, the tibia and fibula, are connected to the top of the talus to form the ankle. Connected to the talus at the subtalar joint, the calcaneus, the largest bone of the foot, is cushioned inferiorly by a layer of fat.[1]
The five irregular bones of the midfoot, the cuboid, navicular, and three cuneiform bones, form the arches of the foot which serves as a shock absorber. The midfoot is connected to the hind- and fore-foot by muscles and the plantar fascia.[1]
The forefoot is composed of five toes and the corresponding five proximal long bones forming the metatarsus. Similar to the fingers of the hand, the bones of the toes are called phalanges and the big toe has two phalanges while the other four toes have three phalanges. The joints between the phalanges are called interphalangeal and those between the metatarsus and phalanges are called metatarsophalangeal (MTP).[1]
Both the midfoot and forefoot constitute the dorsum (the area facing upwards while standing) and the planum (the area facing downwards while standing).
The instep is the arched part of the top of the foot between the toes and the ankle.
There can be many sesamoid bones near the metatarsophalangeal joints, although they are only regularly present in the distal portion of the first metatarsal bone.[3]
The human foot has two longitudinal arches and a transverse arch maintained by the interlocking shapes of the foot bones, strong ligaments, and pulling muscles during activity. The slight mobility of these arches when weight is applied to and removed from the foot makes walking and running more economical in terms of energy. As can be examined in a footprint, the medial longitudinal arch curves above the ground. This arch stretches from the heel bone over the "keystone" ankle bone to the three medial metatarsals. In contrast, the lateral longitudinal arch is very low. With the cuboid serving as its keystone, it redistributes part of the weight to the calcaneus and the distal end of the fifth metatarsal. The two longitudinal arches serve as pillars for the transverse arch which run obliquely across the tarsometatarsal joints. Excessive strain on the tendons and ligaments of the feet can result in fallen arches or flat feet.[4]
I have decided to order this post at last . First: to make headings in gallery, then to define the preferences and vice versa.
| Ðóáðèêè: | ×ÀÑÒÈ ÒÅËÀ. THE BODY PARTS. |
| Êîììåíòèðîâàòü | « Ïðåä. çàïèñü — Ê äíåâíèêó — Ñëåä. çàïèñü » | Ñòðàíèöû: [1] [Íîâûå] |