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This chapter discusses how childhood sexuality has been researched in historical, clinical, and academic studies outside the rapid evidence assessment (REA). It finds that, first, recognition of childhood sexuality is evident in all three fields. Second, even when confronted by contradictory evidence, Sigmund Freud's theory retains currency within which understanding of childhood (sexual) development is reported; acceptance of the latency of childhood sexuality (or asexuality) perpetuates a context for framing childhood as asexual. Actions such as imitations of adult sex, watching pornography, and concern about early puberty stray into the realms of the abnormal as a consequence. The chapter then examines some of the sexual practices engaged in by children mediated by the online environment. It considers consensual youth-involved sexual imagery online and the difficult task of distinguishing between normative sexual exploration, ‘sexting’, and online child sexual victimisation (OCSV).

The media often presents “nurses” as half-dressed bimbos, and the global prevalence of the “naughty nurse” image remains staggering. It appears in television shows, music videos, sexually oriented products, and even the news media. At half-time during a televised 2012 basketball game, the Dallas Mavericks Dancers donned naughty nurse outfits and did a sexually oriented dance to the tune of Robert Palmer’s “Bad Case of Loving You.” Major corporations have used the naughty nurse in advertising for alcohol, razor blades, cosmetics, shoes, and even milk. The naughty image encompasses more subtle messages that nurses are mainly about the romantic pursuit of men, particularly physicians and patients. Of course, the creators of naughty nurse imagery typically assure critics that they are “just joking.” But the social contempt underlying the imagery discourages practicing and potential nurses, undermines nurses’ claims to adequate resources, and encourages workplace sexual abuse-a major problem for real nurses.

This chapter provides research into the field of communications that can be used to support the premise of children's right to sexual information. It focuses on how children are not merely passive witnesses but are also engaging with sexual imagery in the media. This may influence their standards of attractiveness, their sexual and romantic expectations, and their sexual norms and behaviors. The chapter then shifts to a discussion framed along the dimension of rights—exploring whether and when children have a right to expression as understood within the First Amendment, a right to access information about sex and sexuality, a right to expression of gender identity, and rights of protection or special treatment based on sexual orientation.

James Tiptree Jr's ‘A Momentary Taste of Being’, a story about alien encounter, is divided into four parts, in which the events are chronologically narrated. Dr Aaron Kaye, resident psychiatrist of the spaceship Centaur, is the focalising agency throughout the story and is also the narrator, but only in the last part; the first three parts are told by an external narrator, an impersonal agency. This chapter examines Kaye's narrative viewpoint and the series of dreams that haunt him. It considers the kind of masculinity that Kaye represents and how it relates to the overall tenor of the text. In particular, the chapter looks at what visions of sexuality and reproduction emerge from the text when Kaye's perspective is followed. It also analyses the concept of the grotesque and the model of entropy/dissipation, before concluding with a discussion of the pervasive – predominantly phallic – sexual imagery of ‘A Momentary Taste of Being’.

This chapter describes the world of sex and the erotic. It discusses movement and interrelationality by means of observing ballroom dance lessons, which is a required part of coming of age for many Czech youth. Following a daughter and her mother through the first steps of becoming a cultured ballroom dancer, the chapter looks at how sexuality, male dominance, and female sexual objectification are both encouraged and circumscribed on the dance floor. It considers the universality of sexual imagery and the prevalence of male violence across a range of domestic and public sites. The chapter also questions what sexuality means in terms of women's agency and whether or not, as Jan Patocka suggested, there is indeed an inherent liberatory potential to deeply intimate, erotic relations. It analyzes whether sex is a possible path to self-transcendence.