By D. Walen
Buildings of lady Homoeroticism in Early sleek Drama explores textual representations of affection and wish among woman characters in a couple of performs written among 1580 and 1660. The paintings argues that playwrights of past due 16th- and early seventeenth-century England famous and developed richly varied tropes of girl homoerotic hope. This booklet analyzes an important physique of dramatic texts, many pointed out for the 1st time, that display the best way playwrights conceived of wish among girls, together with Philaster, Hymen's Triumph, The Lover's depression, The uncertain inheritor, A Christian Turn'd Turk, Orgula, and others.
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Extra info for Constructions of Female Homoeroticism in Early Modern Drama (Early Modern Cultural Studies)
Hand to strange hand, lipp to lipp none denies; Why should they breast to breast or thighes to thighes? Likeness begetts such strange selfe-flatterie, That touching my selfe, all seemes done to thee. (ll. 45–52) “Sappho to Philaenis” represents an exception to early modern maleauthored texts that ignore female homoerotic desire, ridicule it, or construct it as transgressive. Donne’s Sappho, declaring hers a “naturall” desire, delights in the sensual, sexual embodiment of her love— hands touch, lips meet, breasts press against each other and thighs entwine in mutual satisfaction.
Nor yit the Husbands jealowsie, nor rowghnesse of her Syre, Nor yit the coynesse of the Wench dooth hinder thy desyre. And yit thou canst not her enjoy . . Behold the blisfull tyme, The day of Marriage is at hand. Ianthee shall be myne, And yit I shall not her enjoy. Amid the water wee Shall thirst. (sig. 122r–v) The text positions Iphis as a sympathetic heroine and focuses attention on her homoerotic passion. Despite the gender transformation that brings the story to a heterosexual conclusion, the predominant image of the narrative shows two female characters in sexual union—the “lesbian scene” amid episodes of various sexual fantasies.
They conjectured that a sexually frustrated woman could generate enough heat to make her inverted male genitalia appear outside her body. 57 The inability of physicians and anatomists to define woman on her own terms suggests a conflation 40 C o n s t ru c t i o n s o f F e m a l e H o m o e rot i c i s m of female and male sex characteristics, which would allow a great deal of ambiguity in gender. 58 Whether defined as an imperfect male, or a perfect (although inferior) sex, woman was carefully constructed as different from, and usually subordinate to, man.
Constructions of Female Homoeroticism in Early Modern Drama (Early Modern Cultural Studies) by D. Walen