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Table of contents
PREFACE
THE MOTHER AND HER CHILD-1.1
THE MOTHER AND HER CHILD-1.2
THE MOTHER AND HER CHILD-1.3
THE MOTHER AND HER CHILD-1.4
THE MOTHER AND HER CHILD-1.5
SEXUAL EDUCATION-2.1
SEXUAL EDUCATION-2.2
SEXUAL EDUCATION-2.3
SEXUAL EDUCATION-2.4
SEXUAL EDUCATION-2.5
SEXUAL EDUCATION-2.6
SEXUAL EDUCATION-2.7
SEXUAL EDUCATION-2.8
SEXUAL EDUCATION-2.9
SEXUAL EDUCATION-2.10
SEXUAL EDUCATION-2.11
SEXUAL EDUCATION AND NAKEDNESS-3.1
SEXUAL EDUCATION AND NAKEDNESS-3.2
SEXUAL EDUCATION AND NAKEDNESS-3.3
SEXUAL EDUCATION AND NAKEDNESS-3.4
THE VALUATION OF SEXUAL LOVE-4.1
THE VALUATION OF SEXUAL LOVE-4.2
THE VALUATION OF SEXUAL LOVE-4.3
THE VALUATION OF SEXUAL LOVE-4.4
THE FUNCTION OF CHASTITY-5.1
THE FUNCTION OF CHASTITY-5.2
THE FUNCTION OF CHASTITY-5.3
THE FUNCTION OF CHASTITY-5.4
THE FUNCTION OF CHASTITY-5.5
THE FUNCTION OF CHASTITY-5.6
THE PROBLEM OF SEXUAL ABSTINENCE-6.1
THE PROBLEM OF SEXUAL ABSTINENCE-6.2
THE PROBLEM OF SEXUAL ABSTINENCE-6.3
THE PROBLEM OF SEXUAL ABSTINENCE-6.4
THE PROBLEM OF SEXUAL ABSTINENCE-6.5
THE PROBLEM OF SEXUAL ABSTINENCE-6.6
PROSTITUTION-7.1
PROSTITUTION-7.2
PROSTITUTION-7.3
PROSTITUTION-7.4
PROSTITUTION-7.5
PROSTITUTION-7.6
PROSTITUTION-7.7
PROSTITUTION-7.8
PROSTITUTION-7.9
PROSTITUTION-7.10
PROSTITUTION-7.11
PROSTITUTION-7.12
PROSTITUTION-7.13
PROSTITUTION-7.14
PROSTITUTION-7.15
FOOTNOTES-1
FOOTNOTES-2

_Studies_, where this question of the relationship of nakedness to modesty 

is fully discussed. 

 

[43] C.H. Stratz, _Die Koerperformen in Kunst und Leben der Japaner_, 

Second edition, Ch. III; id., _Frauenkleidung_, Third edition, pp. 22, 30. 

 

[44] I have not considered it in place here to emphasize the aesthetic 

influence of familiarity with nakedness. The most aesthetic nations 

(notably the Greeks and the Japanese) have been those that preserved a 

certain degree of familiarity with the naked body. "In all arts," 

Maeterlinck remarks, "civilized peoples have approached or departed from 

pure beauty according as they approached or departed from the habit of 

nakedness." Ungewitter insists on the advantage to the artist of being 

able to study the naked body in movement, and it may be worth mentioning 

that Fidus (Hugo Hoeppener), the German artist of to-day who has exerted 

great influence by his fresh, powerful and yet reverent delineation of the 

naked human form in all its varying aspects, attributes his inspiration 

and vision to the fact that, as a pupil of Diefenbach, he was accustomed 

with his companions to work naked in the solitudes outside Munich which 

they frequented (F. Enzensberger, "Fidus," _Deutsche Kultur_, Aug., 1906). 


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