This chapter looks at two creative movements that intersected strongly with queer representation. Of these, the decadent movement was more pervasive. While centered in France, it was international in scope, while the aesthetic movement was primarily British. The author is interested in these movements in how they expressed the complexities and contradictions of developing “queer modernity.”
19th c
LHMP entry
This article works through a lens of the sexualization of Black identities and Black bodies, as well as how desire is constructed in Black writing. The content is not limited to writers with same-sex desire and covers up through 1930, looking at three distinct eras: antebellum, later 19th century, and Harlem Renaissance. [Note: the Harlem Renaissance is a rich historic and social era, but falls outside the time scope of the Project.]
The article begins by tackling the complicated question of the correspondence between 19th-century, intensely affectionate, same-sex friendships and current understandings of same-sex desire. Based on the emotional language (and domestic arrangements) of many 19th-century, same-sex pairs, the urge to identify these feelings and people as “homosexual” is strong. And (the question I always want to ask.) does it matter whether we can clearly categorize people in this way?
Although this article is placed in the “Enlightenment Culture” section of the book, this survey article begins with references to several modern horror/gothic works that connect the themes of hidden supernatural terrors with hidden sexualities. But despite the modern recognition of how these themes are connected, and despite the graphic depiction of a wide range of “forbidden” sexualities featured in the historic gothic genre, male homosexuality is startlingly absent in historic gothic works (though not in historic pornographic works).
This article has a consideration of the place of male homosexuality — activity, legal status, cultural attitudes — during the “age of Goethe” in Germany, and how m/m themes underpin various creative movements. The brief discussion of women in this context focuses mainly on the literary trope of the actively-desiring, sexually independent woman, who practices “free love” with desirable men. There is also a brief note about medical theories of lesbianism, in particular, the “enlarged clitoris” theory, as well as theories of gender “inversion.”
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.
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.
This article looks at two stories within the 1001 nights that set up scenes of apparent homoeroticism due to gender disguise. In two romances—that of Qamar and Budur, and that of Ali Shar and Zumurrud—the woman disguises herself as a man during a period when the lovers are separated, and then when they are reunited and the disguised woman is in a position of greater social power, she teases her lover (who has not recognized her or even realized she is a woman) by demanding that he submit to her sexually (believing he is submitting to a man).
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