This article connects the rhetoric of manly same-sex bonds with the development of national identity and nationalism in the 18th century and later. This image of a tight-knit national brotherhood not only trivially excludes women in the history of its development, but more consciously excludes racial and cultural “others,” relying, as it does, on an image of unified identity and feelings. I’m honestly a bit confused at how it fits into a “gay and lesbian” collection, except in the thematic connection between (white) male political solidarity and homo-affective bonds.
18th c
LHMP entry
Libertine, rake, and dandy (LRD) are a sequence of persona types that emerged sequentially from the 16th to the 20th century, with overlaps, and blurring between them. They existed alongside other named character types, such as 18th-century, fops, macaronis, coxcombs, and coquettes. All are defined in relation to the “respectable” character types, such as the pious person, the bluestocking, etc. to name only a very few. The sexually-marked types of LRD don’t correspond directly to the modern concept of queerness, though some connections can be traced.
This chapter concerns Early Modern Ottoman, poetry, primarily about love, and primarily about love between men. This is not solely love of adolescent boys, but a wide array of male beloveds. Changes in cultural influences, especially westernization in the 19th century, reframed this dynamic as perverse. The focus of the article is Istanbul and relations between men, but one section of the article looks at female poets, and female same-sex topics.
This chapter begins with a discussion of what is known about Sappho, her poetry, and her reputation among her contemporaries in ancient Greece. The tragically fragmentary nature of the written legacy of her work is traced, including the nine volume collection lost in the 9th century and the recovery of fragments of her work from papyrus sources in the late 19th and 20th centuries.
Introduction
In the second half of the 18th century, women established themselves as writers of novels in dramatic numbers, thus the genre is imbued with a diverse array of women’s concerns. The novels discussed in this book tell stories often at odds with the official cultural narrative. Within that diversity, they contribute to a common tale of women’s options and how they negotiate them.
Introduction
In the later 18th century, there is a conflict in the English imagination between the foreign, dangerous, “female friends,” personified by the image of sapphic Marie-Antoinette, and the positive image of such celebrated English female couples such as Ponsonby and Butler, Seward and Sneyd. Hester Thrale personified this conflict, expressing deeply negative views of sexualized female relationships, but praising and even engaging in intimate (but not overtly sexual) relationships between women, such as Frances Barney.
{The following material appears in the longer edition only.}
L'HERMAPHRODITE,
OU
LETTRE
D'ANNE GRANDJEAN
A FRANÇOISE LAMBERT SA FEMME,
Nec duo sunt, sed forma duplex; nec femina dici,
Nec puer ut possit, nec utrumque & utrumque videtur.
Ovid. Metam.
THE HERMAPHRODITE,
OR
LETTER
FROM ANNE GRANDJEAN
TO FRANÇOISE LAMBERT ZIR WIFE,
NOTA. Par Arrêt rendu en la Chambre de la Tournelle du Parlement de Paris, le 10 Janvier 1765, Monsieur le Procureur Général a été reçu appellant comme d'abus de la célébration du mariage d'Anne Grandjean, & ce mariage à été déclaré abusif; la Sentence de la Sénéchaussée de Lyon, sur l'accusation en profanation de Sacrement, a été infirmée, & l’Accusé a été mis hors de Cour; il lui a néanmoins été enjoint de prendre les habits de femme; avec défenses de hanter Françoise Lambert, & autres personnes du même sexe.
Mais nous avons annoncé des preuves d'un autre genre.
But we have announced evidence of another kind.
TROISIEME OBJET
Bonne foi de l'Accusé.
THIRD ISSUE
Good faith of the accused.
Il faut commencer par partir d'un point fixe; c'est que la mauvaise foi ne se présume pas, que la Justice suppose toujours l'innocence, & que pour condamner; il faut avoir contre l'Accusé des preuves de conviction.
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