emotional /romantic bonds between women
This article traces the relationship, documented in letters, between two black women during the period around the end of the American Civil War. Both women were free-born and lived the earlier part of their lives in Connecticut, but one of the two spent time in the south after the war as a teacher, so a wider variety of social issues came into their lives. The two correspondents were Addie Brown, a domestic worker, and Rebecca Primus, a school teacher.
I desperately desperately wanted to love this novel. Unfortunately, it fought me every step of the way.
Habib is a scholar of the history of sexuality, and particularly female same-sex desire, as reflected in medieval Arabic texts. This novel grew out of that research and weaves a complex portrait of the lives of several women recorded in 9th century Baghdad, at a time when it was possible--if not at all easy--for women who loved each other to make a place for themselves, sometimes in private but sometimes as public figures.
Chapter 4: A close reading of Aĥmad Ibn Yusuf Tifashi’s Nuzhat al-Albab - Toward re-envisioning the Islamic Middle East
Part II: The history and representation of female homosexuality in the Middle Ages
Chapter 3: An overview of Medieval literature concerning female homosexuality
Chapter 2 - Constructing and deconstructing sexuality: New paradigms for “gay” historiography
In the 16th century Laudomia Forteguerri wrote sonnets to Duchess Margaret of Austria, five of which survive. And at least one contemporary of theirs placed the relationship between the two in the context at Plato’s myth of lovers seeking their "other half”, placing them in a list of "those who...love each other’s beauty, some in purity and holiness, as the elegant Laudomia Forteguerra loves the most illustrious Margaret of Austria, some lasciviously, as ...
The expression of a self-realized romantic and erotic preference for women significantly predates modern language about “being out". Anne Lister in her ca. 1800 diaries expressed a clear and absolute preference for loving and being loved by women. As a literary motif, this recognition of same-sex preference and the effects it has on a character begins appearing in the later 19th century. But the context of this realization can take the story in many directions.
While the Inseparable motif sometimes employs a male character to bridge the practical logistics of forming a female couple, it is more natural for a triangle of this sort to frame the man and woman as rivals for their shared object of desire. Sappho’s fragment 31 encapsulates the envy of a woman for the man who has the attention of the woman she loves. And in contrast to the common motif of-two men competing for a woman's love, when one of the rivals is a woman there is always an awareness that the playing field is badly uneven.
“Travesty” comes literally from “cross-dress” with the theatrical term later picking up its sense of general transgression. Anyone familiar with theater and opera from Shakespeare onward is aware how popular it was to include gender disguise in its many forms and consequences. The two most common expressions both revolve around anxiety about female-female desire: a woman disguised as a man who attracts female romantic attention, or a man disguised as a woman to gain intimate access to a woman who then worries about the ensuing “wrong” erotic attraction.