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The growing acceptance of a biopsychiatric model for women's sexual health issues and the dramatic increase of pharmaceutical industry research funding over the last decade have both contributed to ethical and professional crises in sexology and psychiatry. Although conflict of interest (COI) policies deal with some of these issues, public trust is compromised in such an industry-dominated climate. This article describes why the lack of transparency in diagnostic and clinical guidelines is an important public health issue for women, presents data about financial associations between expert members of diagnostic guidelines panels and `Big Pharma', and relates the discussion to concepts of biopower and biopolitics. One element in these developments — the overuse of diagnostic checklists — undermines an appreciation for the diversity of women's sexualities, reinforces the authority of only certain kinds of research, and privileges biomedical interventions. The authors emphasize the need for a paradigm shift, analogous to that advanced by the New View Campaign, that promotes diagnostic instruments and treatment interventions more fully supportive of consumer, rather than corporate, interests.

This paper will be concerned with the special affordances of periodical writing, taking the modernist little magazine The Masses as its example. This magazine was instrumentally involved in promoting sexual liberation and 'sex radicalism' in the United States of the 1910s, and I argue that the – contracted, serial, and contingent – structure of periodical publishing had an incisive impact on the ways in which the magazine responded to and transfigured the contemporary rhetoric of sexology. Focusing on the enactment of non-normative sexualities in the little magazine, I aim to show that the iterative and kaleidoscopic form of presentation yields effects that are different from the aesthetics of queer modernism as manifest in the 'closed' literary forms of the episodic novel or the short story collection. I will cast a close look at Floyd Dell's writing in the magazine to argue my case, and end with a reflection on (the publication history of) Sherwood Anderson's 'Hands'.

AbstractThis article discusses the development of Polish sexology as well as the challenges of sex education in Poland in general and the implications of Michalina Wisłocka's work within the field of adult sex education in particular, both from a historical perspective and against the background of sociopolitical circumstances and the backlash in the sexual politics of today's Poland. Michalina Wisłocka (1921–2005) is the author of Sztuka kochania [The Art of Loving] from 1978—the most widely read Polish handbook on sex, sexuality and eroticism. Although there has not been a sexual revolution in Poland, the success of the book may be considered revolutionary as it had an enormous impact on sexual awareness among the Poles at least for two decades after its publication. Nowadays, the book is considered groundbreaking as regards its normalizing effect on the language of sex, despite the omnipresence of gender role stereotypes. Even so, the revival of Wisłocka that has been seen in Poland in recent years is quite remarkable because the book appears traditional and largely outdated from today's perspective. In the context of the postsocialist retraditionalization of sexual politics in Poland, however, the revived interest in Wisłocka seems less ambiguous since it can be perceived both as a sign of backlash and a sign of renewed demand for sexual knowledge and education.

Summary
This article surveys the full catalogue of works published by the University Press, erstwhile of Watford, and its mysterious proprietor George Ferdinand Springmühl von Weissenfeld. The intrepid (and criminal) outfit is well known for publishing the first English editions of Sexual Inversion by Havelock Ellis and John Addington Symonds which were banned in Britain following a sensational trial in 1898. Other works produced by the press were crucial in establishing the new sexology across social strata in modern Britain. Among them are several English translations of French sexological tomes. There were also in-house productions that shaped the new sexology for a popular British readership including some of the first non-fiction books by Walter Matthew Gallichan, written under the pseudonym Geoffrey Mortimer. More than this, von Weissenfeld mounted an extraordinary defence of the freedom to publish scientific books about sex, an endeavour that was inextricably linked with his anti-establishment marketing strategy.