A specialized version of the encyclopedia was the catalog of unnatural or monstrous individuals, encompassing deformities, birth defects, and a great many mythical beings. Of particular relevance to sexuality was the fascination for hermaphrodites. Visual representations often portrayed a bilateral dimorphism, with the right half of the individual portrayed as one sex and the left half as the other.
The first part of the year was very quiet, but in April Miss Browne returned and Anne becomes quite attentive to her, despite considering her family vulgar. This resulted in comment as the friendship was between the two women alone and not between their families. Anne finds many excuses to encounter her casually but there are no formal visits. Halifax society begins teasing Anne about the peculiar relationship. Anne also records encounters with more lower class persons who mock her for her masculine appearance and habits.
The article examines an unusual motif in the context of chivalric literature: the activities and adventures of a community of women in the absence of their men, where the story does not focus on the resolution of that absence. The work was composed in Germany slightly before 1300 and presents a community of noble families whose men are engaged in tournaments and the pursuit of honor.
This volume covers 1817 to 1824: Anne Lister lived from 1791 to 1840 at Halifax in West Yorkshire, England. Born one of six children, to an upper class family, the deaths of her four brothers enabled her to inherit Shibden Hall where she then lived with her Uncle James and Aunt Anne (unmarried siblings) from age 24 on, leaving her parental home. Finances were difficult at first but she seems to have had a talent far careful management and eventually had sufficient funds to travel.
The article begins by defending the use of the term "lesbian" by citing Brooten's evidence for a medieval sense of a woman who "behaves like a man" and "is oriented toward female companionship for sex" while raising several issues with that usage. But the author is examining a similar apparent contradiction in medieval texts to the one found by Brooten in early Christian texts: an acceptance (to some degree) of female same-sex unions combined with hostility toward female appropriation of male roles.
Some writers object to examining cross-dressing dramas from a homoerotic viewpoint, noting that the act of changing clothes does not change orientation. But Walen emphasizes that the female homoeroticism in cross-dressing plays is situated, not necessarily within the sexual orientation of the characters, but in the dramatic tropes enabled by the cross-dressing motif. It is the audience, more than the characters, who experience the female-female desire.
Images of women-loving-women were established enough in 16th century England to appear as a character type that was not so much defined as simply assumed, and therefore was available for reference both explicitly and obliquely. Within this general type, there were clear distinctions made between the motifs of desire between women and sexual acts between women. This chapter explores evidence for this character type in non-dramatic sources that were available to early modern English playwrights and their audiences.