Vern L. Bullough wrote a number of articles in the 1970s through 1990s on topics relating to crossdressing and “transvestism” in the middle ages. They are all thoroughly outdated, especially with respect to contextualizing gender presentation as it relates to gender identity and sexual orientation. I’m going to summarize the article using more current terminology (that would not have been available to Bullough at the time this was written).
Medieval (general)
This tag is used when a more specific date isn’t available covering very roughly the 11-14th centuries.
LHMP entry
This is a long summary article on ideas, attitudes, social structures, and legal principles relating to women’s sexuality in medieval Europe. Only a very small section is at all relevant to same-sex sexuality, and that is in a section entitled “Continued Silences” so you can already guess how scanty it’s likely to be, especially given that the “silence” it refers to is women’s own writings about sexuality in general, not specifically same-sex experiences. (It’s always useful to take note of the publication date of articles like this.
[Note: I’ll be including additional data and discussion of some of the vocabulary discussed in this article for my readers. The original article was written for an audience that is assumed to have a familiarity--perhaps even fluency--in the Welsh language. I think it’s not entirely self-serving to think that my PhD in Welsh historical linguistics might be excuse enough to think I can bridge that gap for my readers.
Scholarship on medieval Arabic literature has tended to focus on scholarly works or on the specific set of stories that has come to western attention as the Thousand and One Nights. Only recently has the enormous corpus of traditional popular epics begun to receive more attention and analysis. This article looks at one specific episode in a longer epic that illustrates the popular motif of the warrior woman, and how she becomes a force either for disruption or stability.
[Note: I originally picked this up thinking that it would cover literary female cross-dressing knights as well as male ones. Although the article is entirely about men cross-dressing as women, it helps to round out the picture of how medieval people viewed clothing as a gender signifier and some of the asymmetries of cross-gender behavior.]
Putter looks at the phenomenon of (male) cross-dressing knights, both in historical records and in chivalric romances and considers how the topic contributes to our understanding of gender and sex categories in the middle ages.
Introduction
As with most general works on same-sex sexuality (and especially ones authored by men) this book is overwhelmingly focused on male sexuality. There is also the tendency usual in this context to suggest that texts, situations, and commentaries that don’t specifically include women can be extrapolated to them.
Chapter 1: Sex and the Middle Ages
Mills continues his word-play, contrasting the “enclosed virgin” who is trying not to turn away from chastity, with the doomed sodomite, depicted as turning in hell on the spit that impales him in mockery of his sin. The anchorite turns away from temptation and toward God, while the sodomite turns pointlessly in place.
This chapter focuses on the image of “turning” away from right behaviors and objects and toward wrong actions and objects. In both text and image, there is a concept of wrong behavior being “turning in circles” and therefore being unable to follow/enter the desired path or gate. Vocabulary related to this include: deviation, conversion, translation, orientation.
Another story appearing in the “moralized Ovid” manuscripts is that of Orpheus. Orpheus is relevant to the topic of the book via a version of the story in which, after losing Eurydice, he turns away from women to love boys. [As a brief summary for those not familiar with Orpheus: after his girlfriend Eurydice dies, he goes down to the underworld to plead for her return and his singing is so sweet and powerful that Hades agrees, provided he leads her out of the underworld without looking back at her.
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