Marco Denevi's short story, "Michel," from the collec! tion entitled, Hierba del cielo (1973), is in many ways an intriguing smallscale companion to his best known work, Rosaura a las diez (1955). Comparing the story and the novel, it becomes clear that the structures and themes seem to be crafted from the same raw materials. For ex! ample, the first-person narrators in both works, limited by their ignorance of key pieces of information, describe their relationship with an enigmatic stranger whose identity is revealed at the very end of the narrative. At the heart of the two fictions lies a mystery that functions through the ten! sion between knowledge and ignorance and through the disguising and disclosure of a person's true identity. And in both cases, the resolution of the mystery produces a tremendous irony.

Until recently, an exquisite object of art of the early imperial period, known as the “Warren Cup,” with two figural scenes of homosexual love-making has gained very little attention.  The scenes have been taken either as political satire making sport of certain male youths of the Julio-Claudian family or as representations of activities in a “gay brothel.”  However, based on a new consideration of both internal and external evidence, I conclude that neither of these interpretations is likely. Beside offering a completely new interpretation of the subject matter of the cup, I address another subject that has been neglected in past discussions; namely, the function of the cup and its significance for understanding the nature of its homoerotic subjects.

Although such fine silver cups were regularly made in pairs with similar or related scenes, the few past discussions of the Warren Cup have failed to consider the question of its lost mate.  We may arrive at likely possibilities for the presumed lost mate of the Warren Cup by analyzing similar scenes on early imperial Arretine bowls, usually considered the poor man’s version of cups in precious metals.  I consider also the rhetorical and aporetic nature of the Warren Cup’s scenes, as well as the intended audience of the cup.

The Warren Cup is of great importance for the information it provides about not only Roman concepts of homosexual love making but also the role of such cups in the intellectual discourse of Roman banqueting.

Wilhelm von Gloeden, a minor German aristocrat, and his cousin, Guglielmo Plüschow —both homosexual, both photographers — succumbed to what historian Robert Aldrich has called "the seduction of the Mediterranean," a mythic construct of southern Italy that was a central theme in homoerotic art and literature from the 1750s to the 1950s. Although Plüschow has been overshadowed by his more famous relative, his work was more transgressive, and as his life demonstrates, he was much more the "sexual outlaw," to borrow the American author John Rechy's locution. This paper compares the lives and work of Gloeden and Plüschow but focuses mainly on the latter. I present biographical detail and cultural history and I discuss the politics of representation as embodied in his (and his cousin's) images of Southern Italian masculinity

This article traces a brief history of zine literature produced by gay and lesbian activist circles in Spain from the late Francoist years to present, paying specific attention to the publications by the queer Madrid-based groups La Radical Gai and Lesbianas Sin Duda (LSD) in the 1990s. Self-published graphic content is analysed alongside the collective process to produce this literature in an effort to question the ways in which these publications articulate and enact the activist values of the social group in the practice of fanzine creation itself. This article proposes that the collective creation of zine literature in queer activist collectives has operated as both a mode of and means for sustaining oppositional mobilization.

Key Words: Zine Culture, Comics, Ephemera, Queer Activism, Cultures of Resistance, HIV/AIDS, Gender and Sexuality, Homosexuality, Spain, Contemporary history

"Few people would disagree with Cicero's graceful insight that: 'They seem to take the sun out of the world who take friendship out of life; for we have nothing better from the immortal gods, nothing more pleasant than friendship'. And who has ever boasted of being friendless or of knowing nothing of friendship? Yet although friendship is treasured everywhere, the extent to which people write about it and analyze it varies from age to age; for different times set different priorities, even in the human relationships that they value. In recent decades friendship has often taken back seat to romance or careerism. Happily, the situation in the Middle Ages, particularly in the late eleventh and twelfth centuries, differed. Friendship preoccupied intellectuals, to judge by the many treatises, poems, and letters in which amicitia and its vernacular equivalents are discussed and practiced.

The high esteem that this personal bond commanded has caught the attention of historians, from those who study monastic culture and spirituality to those who investigate the development of attitudes toward homosexuality..."

Esta pesquisa aborda como o relato de teor biografico, com enfase no texto literario, resolve a questao sobre a subjetivacao dos sujeitos e de suas identidades. Se, por um lado, a subjetivacao opera num nivel anterior ao sujeito, mas, ao mesmo tempo, ele pode cooperar com esse processo com a finalidade de tornar a si mesmo um sujeito inteligivel e possivel na interlocucao com o outro, compreende-se aqui o relato de si como uma estrategica ficcional e discursiva na qual os sujeitos procuram adquirir alguma agencia sobre suas subjetividades. O exemplo utilizado para ilustrar o problema e a producao literaria de quatro autores homens que, seja por suas biografias ou tematicas autorais, estiveram envolvidos com formas de identificacao relacionadas a homossexualidade. Deste modo, o problema especifico diz respeito as normas identitarias relativas aos homens gays, por um lado, e das formas de sociabilidade, convivencia e afetos desenvolvidas por esses homens, que, consequentemente, dialog...

There is a common narrative among Whitman scholars that Walt Whitman 'came out' as a gay man in his late 50s with the release of the 1860 edition of Leaves of Grass , more specifically with the inclusion of the "Calamus" poems. While the "Calamus" cluster does consist of many poems about sensual interactions, in this paper I am going to argue that Walt Whitman did not have his homosexual awakening so late in his life.

The West has a history of oppression and vilification of homosexuals based on a mixture of religious and cultural beliefs. But the Bible passages that actually condemn same-sex sexuality are few and should be interpreted based on ancient social patterns and beliefs. Here, a selection of ancient and biblical texts is examined using the conceptual pairs of purity/impurity, authority/subordination and honour/shame.

The book is in Swedish, but an English translation is planned. A few sample pages are uploaded.

This paper explores the notion of homosocial space in the Victorian Era as it pertains to canonicity issues in literature. Homosocial space simply means that space which men set aside, such as in men.s-only clubs or situations such as the relationship of Sherlock Holmes and Dr. Watson, in which women play a limited role, if at all. Yet, this notion of men-only spaces created problems for the works vying to become canonical literature.not because of the exclusion of women, but for the ambivalence felt toward this separation of the sexes. Underlying this ambivalence is a fear of homosexuality; yet, these spaces also violate Matthew Arnold.s and Thomas Carlyle.s views toward industry. Often, the men in these novels fail to act, whether heroically or artistically. Matthew Arnold's works "The Function of Criticism at the Present Time" and "The Study of Poetry" usefully navigate the trail toward canonicity, at least for the Victorian Era. Using Arnold's notion and the prevailing social attitudes toward masculinity and enterprise, this paper examines the problems of canonicity for Oscar Wilde's The Portrait of Dorian Gray, E.M. Forster's Maurice, and John Buchan's The Thirty-Nine Steps.

Lors de leurs rencontres et de leurs entretiens, du début des années 1920 jusqu’à la mort de Gide en 1951, Gide et Julien Green ont fréquemment échangé au sujet de l ’homosexualité et de la stratégie à adopter pour en parler dans une oeuvre littéraire. Au-delà des enjeux proprement moraux, ce sont bien les enjeux esthétiques qui sont au cœur de cette réflexion qui vise à définir comment parler de l ’homosexualité et dont les fruits, dans l ’oeuvre de Green, n’apparaîtront cependant qu’après la disparition de son aîné.

Der Skandal um Fürst Eulenburg, den besten Freund und zeitweise wichtigsten Berater Kaiser Wilhelms II., erschütterte seit 1906 die Monarchie. Anhand zahlreicher Quellen, darunter rund 5000 Presseartikel, geht Norman Domeier dem Skandal nach und liefert eine Kulturgeschichte der Politik im Kaiserreich. Er zeigt, dass es weniger um die Homosexualität des Fürsten ging: Der Eulenburg- Skandal war vor allem die Initialzündung für eine moderne, kritische Öffentlichkeit in Deutschland. Gleichzeitig aber bot er Gelegenheit, den kommenden Weltkrieg nicht nur politisch, militärisch und ökonomisch, sondern auch moralisch zu rechtfertigen.

This review is a coursework submission from the final year of my English BA, and aims to summarise the roles of discourse, that of institutions and culture, and their implications and shortcomings in the historical constitution of the homosexual. I examine Foucault's 'History of Sexuality' as a precursor of queer theory, and subsequent texts that established the framework of queer theory. The review will end with a short concluding paragraph discussing broader conceptual issues and how my sources will be applied to the topic of a final 3000 word essay.

“Anthony Burgess and Science Fiction”, Jim Clarke, SFRA Review 313, Summer 2015, pp. 28-35. Anthony Burgess was a reluctant writer of SF, but a highly influential one. This article, for the SFRA Review, introduces the author and his SF work and seeks to explain the reason behind his sudden reversal of attitude towards SF in mid-career.

This article presents ancient Roman texts dealing with the topic of same-sex weddings with the purpose of examining the reliability of these sources and contributing to the understanding of this element of the ancient tradition. In order to do so, this paper takes literary and historiographical sources and legal aspects into consideration, making use of research by Craig Williams, Bruce Frier, and Michael Fontaine. Apart from a Late Imperial constitutio, our most important sources are historiographical works on two emperors of scandalous reign, namely Nero and Elagabalus; Juvenal’s Satire 2; and two epigrams by Martial: 1, 24 and 12, 42. In the closing section of the paper, I suggest a new interpretation for the punchline of the latter poem.

The essay focuses on the critical consequences of the homophobia inflecting the critical writings of Giacomo Debenedetti e Mario Lavagetto, two major scholars of Umberto Saba's poetry who have ventured into the homoerotic facets of his work. I maintain that the "slippery" quality of their criticism does not rest on what Foucault termed "the repressive hypothesis" (that is, a simple excision of homosexuality from scholarly enquiry), but rather on the "different ways of not saying" (Foucault) which allow them to be seen to address a taboo topic, while at the same time misunderstanding and minimizing its full implications.
After deconstructing Debenedetti's use of the term "exorcism" in relation to Saba's late, and intensely homoerotic, poetry, I discuss Lavagetto's acceptance of the concept in his classic text "La gallina di Saba", and the self-revision of his critical position in the Mondadori "Meridiano" consecrated to Saba. Overall, I demonstrate that, among other opacities, Debenedetti's and Lavagetto's writings fail primarily by not addressing directly the topic of sex, a taboo subject which Saba starts to tackle quite courageously in the late phase of his work under consideration.

En 18 poemas de los costarricenses Alfonso Chase y Jorge Chen se analizan hermenéutica y correlativamente la clandestinidad, encubrimiento y marginalización, pero también cierta des-identificación y desontologización, por parte de los sujetos y objetos líricos gays, mediante recursos homotextuales como construcción de ambientes nocturnos, patologización, enmascara-miento, ambigüedades, contemplación y desdoblamiento.

El recorrido histórico de este libro visibiliza, en diferentes contextos, la presencia escénica de cuestionamientos al binarismo de género imperante y destaca un elemento ignorado por las historias teatrales hasta el presente: la emergencia de la disidencia sexual en las artes escénicas durante los años 60 y sus intentos por desplazarse de la patologización de décadas anteriores. Del mismo modo, propone reconocer los procesos de censura y la obstaculización a la visibilidad pública de las sexualidades disidentes en los discursos teatrales del período.
A través del estudio de las experiencias producidas en los escenarios porteños, Ezequiel Lozano argumenta que durante esa década se opera una transformación novedosa en las artes escénicas que visibiliza la disidencia sexual de un modo nuevo, discretamente revolucionario respecto de la transformación de las normas afectivo-sexuales, pero transformador en lo que se refiere al pasaje desde matrices de representación heterosexistas hacia discursos teatrales que visibilizan otras sexualidades posibles fuera de la (hetero)norma.
En síntesis, se intenta aquí comprender aquella década particular, de cambios socioculturales altamente significativos, donde convivieron atisbos de apertura y modificaciones graduales junto con voces del paradigma lesbo/homo/transfóbico y con discursos patriarcales, misóginos y machistas. Así, el libro propone la relectura de un corpus de puestas en escena y su recepción crítica, desde una perspectiva a contrapelo anclada desde el presente pero con una perspectiva mucho mayor que invita a reflexionar sobre el vínculo entre sexualidades disidentes y teatro de manera amplia.

In the scheme of the Greek myths of masculine love, the myth of Ameinías and Narkissos falls in the category of myths depicting "hubristic eromenoi" (a category that also includes the myth of Promachus and Leucocomas), in other words, boys who abuse their men lovers. This reconstruction attempts to restore the original form of the myth, not the modified story later published by Ovid in his "Metamorphoses," a myth hijacked by the poet (as was the custom in antiquity) to serve his need for tales of transformation.

The name of the protagonist is rendered here as a transliteration of the original Greek form, as a reminder of its origin in the Greek word narkē meaning numbness, or insensibility. From that root we derive words such as narcotic, and narcosis, a state of stupor. Therefore the name of Narkissos is a signifying name. It  tells us that he represents the archetype of a youth who is numb and insensible to the feelings of other people. In particular, his stupor shuts him off from the love of his lovers, men whose role in Ancient Greek society was to make their beloveds better.

As Aelian describes it, “Lovers’ affection for their beloved has a remarkable power of stimulating the virtues, if the former are themselves worthy of respect." (3.9, 3.10 Var. Hist. in LCL 1997 p.135; Tr. N. G. Wilson) In this context, the suicide of Narkissos can be read as symbolizing the intellectual and social death to which a sullen and unresponsive youth fated himself, if unwilling to reciprocate the well-meaning interest of honorable men. Thus, while in modern times the name "Narcissus" has all kinds of positive romantic and floral connotations, its original intended sense as used in this myth is much closer to "Callous Dolt."

ermany’s first homosexual rights activist and one of the first to proclaim his homosexuality«;2
»the pioneer of the gay movement«:3
these
are just examples of titles often associated with Karl Heinrich Ulrichs
(1825–1895). He was indeed an exceptional figure and prominent gay
activist of his time, who made significant contribution to the study of
homosexuality and sexuality in general. A figure that was at times forgotten, yet gained more and more recognition in recent years, including
websites that celebrate his work and streets named after him. Yet many
readings move too quickly from Ulrichs’s outstanding campaign of the
second half of the nineteenth century to contemporary gay movements
and their modern-liberal claims

Commentators have suggested that Nella Larsen’s Passing rejects the view that there is some sort of black essence. I want to challenge this reading. Since Irene is the most vocal advocate of an essence in respect to which all blacks are homogeneous, much of the evidence for thinking that Passing is skeptical about such an essence amounts to evidence for not trusting Irene’s judgment in general, and for not trusting her judgment on this matter in particular. My arguments, then, will often involve explaining why Passing is not leading the reader to mistrust Irene’s judgment on this matter. Now, what exactly is meant by a black essence is, explicitly in this book, mysterious. Nevertheless, I hope to shed some light on how Passing understands the nature of this something, this je ne sais quoi, peculiar to blacks. My tentative interpretation is that this something is an intangible and indefinite manner of being that is neither a conscious choice nor an inborn fact of biology, but rather a given of culture. I take this, in effect, blackness manner to be, so Passing seems to indicate, a function of one’s belief that one is black in a milieu of pervasive anti-black prejudice. Passing, as I see it, thus has something to offer those of us today who struggle to adjudicate between a pull towards essentialism and a pull towards constructionism. What Passing emphasizes in this discussion is the possibility that, in addition to biological and societal influences, one’s mind state is a crucial ingredient to one’s racial identity.

This interdisciplinary volume contains the work of an international group of scholars and is the first attempt in the field of Kuzmin studies, or kuzministics, to present Mikhail Kuzmin (1872-1936 in the stunning multifacetedness of the intellectual and creative endeavor that was his hallmark. The collection treats numerous aspects of the talent and interests of this "Renaissance man"-poetry, prose, drama, music, and the particularities of his poetics; his reflection in the work of his contemporaries, including artists; and his articulation of homosexual themes in Russian literature. The volume also includes an English translation of one of Kuzmin's stories formerly available only in Russian, commentary on a recording of Kuzmin reading three of his own poems, and facsimiles of several first editions.

Se analizan en esta ponencia los elementos discursivos clave que modulan la identidad 'desviada' de los personajes principales, Bruno y Guy, en la época de los cincuenta en Estados Unidos relacionados con la traducción al español de la novela, la adaptación al cine de Hitchcock y su versión doblada al español. Se tienen en cuenta el papel de la censura sobre la homosexualidad tanto en la autora como en sus versiones.

En el ámbito de los estudios medievales se ha pasado por alto la presencia de la homosexualidad de la época, ya sea por tabúes o por falta de fuentes que traten el tema. Esta ponencia se propone sacar a la luz a este grupo disidente a partir de la literatura; no obstante, no se usarán fuentes literarias convencionales (como cantares de gesta o romances, géneros típicamente occidentales): el enfoque se sitúa en la presencia del homoerotismo en la poesía hispanoárabe. Para cumplir este propósito, se analizarán textos como El collar de la paloma, El Corán y una selección de poemas de exponentes de la época, con el fin de abrir el debate respecto a las minorías sexuales en el mundo medieval.

This book examines how sexological ideas about desire and the body made their way from German science into British literary culture at the turn of the last century. It shows that fiction not only influenced the vocabulary of European sexology, but that it allowed lay women and men to shape modern ideas about sex, gender and the body.

Main authors discussed include Karl Heinrich Ulrichs, Richard von Krafft-Ebing, Magnus Hirschfeld, Havelock Ellis, John Addington Symonds, Edward Carpenter, Olive Schreiner and Sarah Grand, Edith Ellis, and Radclyffe Hall.

Se ha discutido bastante el índole del "buen amor" juanruizano, sin llegar a una conclusión aceptada. Este trabajo propone por primera vez que el amor que condena es el dirigido a muchachos (donceles, garçones). En su lugar recomiende a las viudas, especialmente las bajas ("dueña chica").

La version en inglés (abajo) contiene correcciones.

“Really, when it comes to gay rights, there's two wars going on. The first war is political. But the cultural war is over.”
Dan Savage

Yes, the culture war is, theoretically, over. In the public sphere, except for the abandon of homosexual marriage – the political war, any celebrities would not mind anymore being an advocate for gay rights because either they can positively affect their own sexual orientation if they are homosexual, or they can earn a name for being open-minded and tolerant if they are heterosexual. However, in a more complex level of cultural portrayal, we cannot miss out visual media’s representation in which a full-fledged story can be intentionally constructed and most of the time, the cultural war over queers is not yet over. This paper, therefore, seeks to analyze and compare the two films by Taiwanese-born, American-educated, heterosexual director Ang Lee: the comedy of “The Wedding Banquet” (1993) and the tragedy of “Brokeback Mountain” (2005). Distinctions between these two will be given so as to elaborate unique interpretations in each background but more importantly, the significant similarities will be examined in order to see how their main theme - sexual minorities - are depicted, understood and conceptualized.

In a news cycle that has just seen conservative commentators lose it over Harry Styles appearing on the cover of December’s Vogue wearing a Gucci evening dress under a tux, it feels in every way appropriate to celebrate Oscar Wilde’s beautiful androgyne, Dorian Gray – especially as the critical responses sound so similar. When Wilde toured America, for example, the clergyman T. W. Higginson published a high profile and much-reprinted article entitled ‘Unmanly Manhood’ in which he argued that the flamboyant author would ‘improperly influence’ the behaviour of both men and women. When The Picture of Dorian Gray first appeared as a serial in Lippincott’s Monthly Magazine in 1890 it caused a sensation, reviewers falling over themselves to denounce it as ‘unclean’, ‘effeminate’ and ‘contaminating’. It was ‘a poisonous book’ complained the Daily Chronicle, ‘the atmosphere of which is heavy with the mephitic odours of moral and spiritual putrefaction.’ W.H. Smith withdrew every copy from its railway station bookstalls. Five years later, in Wilde’s disastrous legal action against the Marquess of Queensberry, Edward Carson QC conducted a savage cross-examination of the author based around his novel’s alleged ‘corrupting influence’ and ‘unnatural vice’. It was subsequently used as evidence by the prosecution in the first of Wilde’s two trials on the charge of ‘gross indecency’, which resulted in his imprisonment and early death. Last week, the alt-right political activist Candace Owen reacted with equal venom to a perceived threat to the social status quo, viewing Harry and his dress as a direct threat to western civilization and sparking a robust debate across social and mainstream media. ‘There is no society that can survive without strong men. The East knows this,’ she tweeted, concluding ‘Bring back manly men.’ (John Wayne was mentioned.) Republican broadcaster Ben Shapiro agreed, replying to Owens: ‘The POINT of Styles doing this photo shoot is to feminize masculinity.’ Higginson, Carson, Queensbury and the legion of late-Victorian critics who found Wilde and his fin de siècle gothic fantasy so threatening would no doubt agree. The beautiful boys, meanwhile, look on and enigmatically smile…

Con questo lavoro ci proponiamo di fare ordine nel 'mare magnum' di considerazioni e studi più o meno approfonditi che riguardano la problematica figura di Bieiris de Romans e della sua unica 'canso' a noi pervenuta. Nel primo capitolo tenteremo di mostrare la difficoltà di delimitare in maniera definitiva il corpus delle 'trobairitz' e come vari autori abbiano interpretato diversamente l’inclusione o meno di alcuni testi e personalità. Nel secondo capitolo tratteremo nello specifico di Bieiris de Romans, ovvero il fatto di essere l’unica 'trobairitz' dell’intera produzione lirica in lingua d’oc a indirizzare una 'canso' a un’altra donna; esporremo, dunque, le teorie degli studiosi che appoggiano la sua effettiva esistenza e autorialità e quelli che vi si oppongono; infine, proporremo una nostra opinione sulla questione. Nel terzo capitolo esporremo il testo originale, una traduzione e un’analisi critica.

Referāts veltīts atraitnībai latviešu literatūrā, šoreiz pievēršoties sieviešu tēliem un viņu izpratnei par dzīvi pēc laulātā miršanas. Izvēlējos analizēt visai plaša žanra un noskaņas darbus: Rūdolfa Blaumaņa noveli "Raudupiete" (1889), Viļa Plūdoņa poēmu "Atraitnes dēls" (1901), Andreja Upīša komēdiju "Atraitnes vīrs" (1925), Dagnijas Zigmontes stāstu "Zēberga atraitne" (no stāstu krājuma "Strazdu vakars" (1976)) un Janas Egles stāstus "Pīle" un "Aleksandra ir skaista" (no stāstu krājuma "Dzimšanas diena" (2020)). Aiz simboliskas svītras palika Andra Kolberga romāns "Atraitne janvārī" (1984), jo nosaukums ir maldinošs un atraitnības analīzei šis darbs izrādījās gandrīz pilnīgi nepiemērots. Jāpiezīmē, ka arī atraitnis kā tēls būtu visai saistošas un neatklātas latviešu literatūras teritorijas elements, tomēr šis apskats ir pelnījis atsevišķu pētījumu.