Marie Helena Loughlin

General Introduction General Introduction The History of the History of ‘Homosexuality’: Debating Sexual Identity Same-Sex Desire in Early Modern England, 1550–1735 is an anthology of selections from works dealing with same-sex love, desire, sexual acts, and relationships, in a period when the representation and meanings attached to these realities underwent enormous changes. These selections aim at allowing the reader to consider in detail some of the critical and methodological issues that have been involved in charting the developing representations and

in Same-Sex Desire in Early Modern England, 1550–1735

14 Kipling, ‘beastliness’ and Soldatenliebe Howard J. Booth A  ny discussion of Kipling and sexuality soon comes up against Martin  Seymour-Smith’s 1989 biography. His central claim is that Kipling’s life and writing take the form they do because he was in flight from his repressed homosexuality. Though Seymour-Smith sees Kipling as becoming more self-aware over time, whether or not Kipling acknowledged his desires to himself depends on what suits Seymour-Smith’s argument at any given point. (In the psychoanalytic sense of the term, ‘repression’ can only be

in In Time’s eye
Masturbation and same-sex desire in Teleny

Mason 04 2/6/08 4 07:42 Page 75 ‘That mighty love which maddens one to crime’ Masturbation and same-sex desire in Teleny First published in 1893, Teleny, or The Reverse of the Medal, the classic erotic novel of homosexual love, is, perhaps, today best known for its alleged associations with Oscar Wilde. Indeed, authorship of the 1986 Gay Men’s Press edition is explicitly attributed to ‘Oscar Wilde and others’.1 Critical speculation and emphasis on the enigma of its production has, however, resulted in a critical tendency to concentrate on Teleny

in The secret vice
The homophile internationalism of Britain’s Homosexual Law Reform Society

9 Mr Grey goes to Washington: the homophile internationalism of Britain’s Homosexual Law Reform Society David Minto Towards the end of 1967, soon after Westminster partially decriminalised gay sex in England and Wales, Britain’s leading lobbyist went on holiday. First, Antony Grey headed to Amsterdam, where he recuperated in the apartment of a prominent member of the Dutch homophile movement. Then he flew across the Atlantic and began what he later described as ‘the most hectic four weeks of my life’.1 Following law reform at home, Grey was embarking on a

in British queer history

itself, which was perceived to harm the girl, developing her physical and rational capacities to a ‘masculine’ level and thus unfitting her to the role of companion to a man, while the second characterised the single-sex environment as one which encouraged stronger girls to prey upon weaker ones and thus fostered homosexuality.4 The construction of adolescent lesbian identities 19 The origins of women’s formal education in late-nineteenth-century feminist campaigns for sexual equality meant that girls’ education often aimed to closely mirror that of boys. This was

in Tomboys and bachelor girls

with the state of British society, the film industry, and his own failing body, it is arguable that his previous close identification with Shakespeare weakened somewhat, while that with Shakespeare’s great rival Marlowe grew. Shakespeare’s alleged conservatism was now something which he was less ready to embrace and his fury at the homosexual actor Ian McKellen’s acceptance of a knighthood from the Conservative government

in Derek Jarman

this included the description of his body which was the antithesis of what was considered typically Jewish at the time.2 Therefore, N. O. Body was very much more in control of the message his narrative constructed than Barbin. And there is more. Barbin’s text is drowned in a pious and sentimental Roman Catholicism; its style echoes romanticized narratives of saints or other pious, moralist literature. N. O. Body’s text is written in the context of the women’s and homosexual emancipation movement and betrays a wide-ranging interest in medicine, social politics and

in Doubting sex
Abstract only

theorists and historians in recent years. Queer historians have sought to analyse the institutional practices and discourses which produce sexual knowledge, and the ways in which these organise social life, and have thus concentrated their research on the binary opposition of homosexuality and heterosexuality as the dominant epistemological framework of knowledge about sexuality. Teresa de Lauretis has claimed that ‘queer’ represents a way of rethinking lesbian and gay identities and cultures based on the speculative premise that homosexuality is no longer to be seen

in Tomboys and bachelor girls
Vampires and gay men in Poppy Z. Brite’s Lost Souls

I n the Gothic of the later twentieth and early twenty-first centuries, the male vampire has progressively become associated both with the physicality of homosexual practices and with the expression of a specifically gay identity. This association, which finds its adherents within the ranks of critics as often as those of authors, is somewhat problematic, however. On the

in Queering the Gothic
Exploring transgression, sexuality, and the other

notions of the monstrous ‘Other’, and more specifically, in relation to its portrayal of homosexuality and alternative sexualities. It will position this textual analysis within the context of ‘queering’ the horror genre, and through an analytical approach to the narratives and characters of the three films. Whilst there is no doubt that each individual film

in Clive Barker