In considering various types of transgressive cross-dressing (e.g., for theatrical purposes), Schleiner begins by looking at some literary models available within that context that focus around logistical gender disguise.
In considering various types of transgressive cross-dressing (e.g., for theatrical purposes), Schleiner begins by looking at some literary models available within that context that focus around logistical gender disguise.
This article provides a brief historic survey of evidence regarding love between women in Islamic societies. Classical treatises on sexual transgression discuss tribadism (sahq) from a male perspective. There are occasional comparisons to male homosexuality, but in general the two are considered distinct, except generally as vices. Popular imagination, (especially in western accounts) considered lesbianism common in harems.
This article looks at the language of personal love and affection between medieval cloistered women. This social context provides an interesting window expressions of female same-sex desire due to three intersecting factors: the gender-segregated nature of their communities, the relative autonomy (economic and intellectual) women enjoyed within these communities, and the high degree of literacy among cloistered women (allowing us glimpses into their lives via their own words).
This is a sourcebook of excerpts (in translation) from historic documents relating to France during the 16-18th centuries that relate in some way to same-sex relationships. The documents cover court records, personal correspondence, religious commentary, medical opinion, satire, and political polemic. While most items take an external point of view, some are (or purport to be) from the point of view of homosexuals themselves.
Lanser emphasizes again that this study is not looking for historical lesbians--particularly given that the majority of the texts she examines are by men--but for ways the image of the lesbian is used public discourse.
Lanser examines the conjunction of the novel as a genre with "modernity" as defined in this work and considers its relationship to sapphic themes, despite the superficially overwhelming heteronormativity of the genre. One hallmark of the novel is the way in which it explores the contradictory imperatives of self-determination and socialization. The focus of the novel on the formation of couples and the subjective nature of desire opens the conversation--as previously seen with political and social conversations--to the inclusion or exclusion of sapphic subjects under that rubric.
This chapter tackles the question of how "sameness" in the context of same-sex relations reflected and represented concerns about social leveling. It begins by considering an example of the "metamorphic" framing: a 17th c. book of curiosities that included a chapter of 24 instances of persons changing sex. Though the book was reprinted regularly, the sex-change chapter was dropped, perhaps reflecting a shift from an earlier miracle-accepting age to one more concerned with rational explanations.
The chapter begins with a survey of the types of published materials that led Lanser to identify the late 16th century as a shifting point in the discourse around sapphic topics. In 1566 a Swiss writer provides an account of a French woman who disguised herself as a man, worked as a stable groom and then a wine grower, married another woman, was eventually unmasked, and was executed. He notes “how our century can boast that beyond all the evils of the preceding ones” and explicitly disclaims any connection between events such as this and the “tribades in ancient times”.
Riffing off the title of Foucault's The History of Sexuality, Lanser turns the underlying question around. Rather than questioning what historic sources can tell us about human sexuality, she asks what the discourse about human sexuality can tell us about history. This book focuses on published discussions or treatments of “sapphic” themes in the 16-19th centuries.
(by Rose Fox)
Chapter 4 is "Classic Amazons: Performing Gender in Goethe's Weimar." Weimar was small and poor, far from major trade routes, with an enormous "dominating" palace. Krimmer doesn't mince words, drawing an analogy between the “great palace” and “shabby town” and the “acclaim for Weimar's male writers” versus the “obscurity of Weimar's female writers”. "In order fully to understand the gender concepts inherent in Weimar Classicism, we must read canonical works alongside marginalized texts by women writers of the time."