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sexual/romantic desire

This tag is used broadly when there is discussion of erotic or romantic desire between women, whether or not specific activities are mentioned.

LHMP entry

This is an excerpt from a German family chronicle about the Counts of Zimmern. All material transcribed from the published original will be in bold type. My translation will be in plain type, and my commentary will be in italics. I’ll be interleaving my translation and discussion with several separate sections and noting where I’ve omitted material that wasn’t relevant to the interests of the Project. The German text is a transcription of the original 16th century manuscript, reflecting 16th century spelling conventions.

[Note: I’d like to remind readers of my convention that my commentary and critique of articles is typically enclosed in square brackets, unless it’s clear enough from context that I’m speaking in my own voice. Otherwise non-bracketed text is meant to be understood as a summary of the article.

Gonda examines the rather peculiar mid-18th century text The Travels and Adventures of Mademoiselle de Richelieu within the context of cross-dressing narratives and as a lesbian-like narrative (she doesn’t use that specific term), as well as comparing it with its highly abridged knock-off The Entertaining Travels and Surprizing Advenrures of Mademoiselle de Leurich.

Marion “Joe” Carstairs was born in 1900, heir to a fortune, courtesy of her grandfather’s involvement in Standard Oil, and became famous in the 1920s as a motorboat racer and celebrity. She dropped out of general notice in 1934 when she bought an island in the Bahamas and moved there to found something of a private kingdom where she entertained her fellow celebrities, such as the Duke and Duchess of Windsor, as well as a long string of female lovers such as Marlene Dietrich.

Female same-sex flirtation is a regular feature in popular Spanish drama of the early modern era. Erotic attraction to cross-dressed actrresses was cited in moral warnings. Velasco discusses the “meaning” of same-sex flirtation in cross-dressing scenarios, based on the several layers of “real” versus “apparent” gender, and considering different audiences. If female attraction to cross-dressed actresses isn’t quite all-out lesbian desire, it at least acknowledges its possibility.

The identification of forbidden female homoerotic activity in early modern Spain is hampered by the deliberately vague language with which it is identified. When a “miraculous” crucifix supposedly tattled on two trysting nuns in the early 17th century, the phrase put into its voice was simply that the two were “offending me.” Similarly, in 1603 when Inés de Santa Cruz and Catalina Ledesma were arrested for female sodomy in Salamanca, the accusations came in descriptions of the sounds of passion heard through a wall and not a declaration of specific acts.

Preface

This book looks at how Catalina de Erauso’s story has been “constructed, interpreted, marketed and consumed” in the 17-20th centuries. Velasco identifies Catalina as a “transgenderist” (that is, someone who engages in transgender performance without necessarily having transgender identity) and uses she/her pronouns as the book is examining how Catalina’s image was used (the image of a woman performing masculinity) rather than interpreting what Catalina’s own understanding might have been.

Preface

Early Modern England (16-17th century) was developing a vocabulary and symbology to describe and express intimacy between women and female non-normative sexuality. This was taking place in various genres, including travel narratives, medical texts, and works of marital advice. At the same time, women were developing an evasive coded language to express such desires in their own lives. In this context, Sappho was invoked not only as a symbol of female lyricism, but also to represent and make reference to erotic bonds between women.

This is a study, not so much of Sappho the person, but of her lyrics, particularly an interpretation of them in the context of homoerotic desire. The book takes a detailed look at all the poems and fragments known at the time of publication, both in the original Greek and with a closely annotated translation apparatus. It takes a philological approach influenced by women’s studies and gay and lesbian studies. The book does not assume a familiarity with ancient languages but embraces those that do have that familiarity.

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