In the 5th century CE, Taese and Tsansno**, two women living in a monastery in Southern Egypt were chastised for "running after" other women in "friendship and physical desire". This instance--with its unusual specificity of details--is part of a general discourse on women's homoerotic activities in Late Antique Egypt that is shaped by the (mostly) male monastic writers whose records survive. While this material dates from a fairly late (and geographically peripheral) part of the Roman Empire, enough continuity can be identified to use it as a window on broader Roman thought.
Interpreting the meaning and context of Greek pottery art is far from straightforward. The modern framing as valuable “fine art” is to a large extent a by-product of the antiquities trade and it must be remembered that these vessels were originally created as a cheap imitation of fine metal utensils and, as such, might reasonably be viewed as “pop culture” works rather than the products of an artistic elite. These views make quite a difference in interpreting the depictions of women and their interrelationships with each other.
This collection is somewhat unusual for its topic both in being interdisciplinary and in focusing exclusively on women’s relationships with other women. The introduction notes that with the exception of Brooten (1996) and the cottage industry of Sappho studies, there has been extremely little research published on female homoeroticism in antiquity, especially in contrast to the attention directed at male homoeroticism.
Rehak works on reconstructing (or at least plausibly imagining) female-centered aspects of Cretan society based on a series of frescoes from one particular site on the island of Thera. Aegean art of this era (ca. 1700-1100 BCE) does not portray images of sexual intercourse or even displays of affection or intimacy (whether between members of the opposite or same sex).
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 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.
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).
In France in the later 18th century there arose the motif of secret societies of sapphists "more mysterious than the Freemasons" that existed to initiate women into lesbianism, to serve the pleasures of their members, and to achieve unsavory political ends. The existence of these formal organizations was purely fictitious. Their alleged membership typically included unpopular political and social figures. And their alleged purpose was ostensibly to disrupt the heterosexual organization of society, as an allegory for disrupting other social frameworks.
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.
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.