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France

Covering approximately the region of modern France in western Europe, or to topics relating to French-language culture in Europe.

LHMP entry

This chapter focuses on the image of “turning” away from right behaviors and objects and toward wrong actions and objects. In both text and image, there is a concept of wrong behavior being “turning in circles” and therefore being unable to follow/enter the desired path or gate. Vocabulary related to this include: deviation, conversion, translation, orientation.

Another story appearing in the “moralized Ovid” manuscripts is that of Orpheus. Orpheus is relevant to the topic of the book via a version of the story in which, after losing Eurydice, he turns away from women to love boys. [As a brief summary for those not familiar with Orpheus: after his girlfriend Eurydice dies, he goes down to the underworld to plead for her return and his singing is so sweet and powerful that Hades agrees, provided he leads her out of the underworld without looking back at her.

Mills asks (rhetorically) why medievalists rarely discuss transgender frameworks of interpretation, given that medieval people had much clearer ideas about that topic than anything that might be called “sexuality.” Moral polemics focused less on sex acts themselves, than on disruptions of gender, in particular those that violated the strict binary contrast of “male = active, female = passive.” Androgynous (or intersex) persons were recognized as existing, but were required to choose a consistent binary gender identity (or celibacy).

In Paris, ca. 1200, there was an increased focus on anti-sodomy literature. One writer considered it equivalent to murder because both “interfere with the multiplication of men.” Sodomy also relates to gender categories because non-procreative sex blurs distinctions and suggest androgyny. Androgynous people, according to this position, must pick a binary identity based on the nature of who they find arousing within an imposed heterosexual framework. The focus in this anti-sodomy literature is not generally on gender ambiguity, but specifically on preserving “active” male sexuality.

Around 1408 the Limbourg brothers (who created some of the most fabulous illuminated manuscripts of the 15th century) created a Book of Hours for the Duc de Berry. In the section covering the life of Saint Jerome, it includes a depiction of a “practical joke” where Jerome was tricked into putting on a woman’s dress without realizing it. The illustration shows Jerome being mocked for wearing women’s clothes, highlighting the incongruity by the visual contrast of the dress with Jerome’s prominent beard.

Faderman moves into the modern political era with a consideration of the parallel movements for women’s rights and gay/lesbian rights starting in the mid-20th century. Both the strength and the weakness of attempts to associate feminism with lesbianism was the underlying truth of the association. Historically, feminism had arisen among women who directed their primary reform efforts and emotional connections to other women. Those connections ranged along a continuum from friendship to romance to sex.

Women who loved women in the early to mid-20th century no longer lacked public models for their relationships--the problem was that all the public models they now had were toxic. With the voices of authority insisting that they were deviant, the women who dared to be “lesbian in public” tended to be those who had little to lose, or whose living relied on notoriety: bohemians, courtesans, and the like. And it is these individuals that Faderman considers in the current chapter.

The 20th century saw the rise of new genres of fiction that demonized lesbian relationships and inextricably linked them to social structures that had historically nourished women’s friendships, such as single-sex schools. Curiously, it has been revealed in retrospect that many lesbian novels of the 20th century were written by women who were, themselves, lesbian.

The theme of evil predatory lesbians was taken up by others from the French aesthetic writers, but stripped of any hint of sympathy. In these works, the lesbian aspect may be concealed in vague ambiguity while still retaining sexual overtones.

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