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Marie Helena Loughlin

ch a pt e r 6 The New ‘Homosexual’ Subculture, 1700–30 The New ‘Homosexual’ Subculture Introduction In 1691, the Societies for the Reformation of Manners were formed to cleanse England of sin and degeneracy. Although the Societies had many targets, including prostitution, swearing, Sabbath-breaking, and general lewdness, they focused on sexual sin, and particularly on male same-sex erotic relationships, practices, and early communities, engineering the entrapment and subsequent prosecution of ‘homosexuals’, especially those who were apparently beginning to meet

in Same-Sex Desire in Early Modern England, 1550–1735
An anthology of literary texts and contexts

This book is an anthology of selections from works dealing with same-sex love, desire, sexual acts, and relationships during the period 1550-1735 in early modern England. It presents religious and moral writings, pseudo-medical writings, criminal pamphlets, travel writings, and letters on same-sex desire. The condemnation of male and female same-sex sexual acts is embedded in the earliest Christian theology. The early modern medical, pseudo-medical, and anatomical texts in Latin are surprisingly reticent about the physiological and anatomical aspects of homoerotic sexuality and desire. Canon law had long condemned male same-sex sexual acts. The 1533-34 statute in England forbade male same-sex sexual acts but ignored female same-sex intercourse. English travel narratives dealing with the sexual customs of other cultures often present sexual licentiousness as endemic, sometimes touching specifically on sodomy and tribadism. The most detailed presentations of same-sex erotic relationships in non-European cultures are those relating to Turkey and the Turkish seraglio. Familiar letters, such as between James I and VI, could reveal personal secrets and be radically transgressive in their emphasis on fostering love and desire. The book discusses homo-sexual subculture during 1700-1730, translation of Latin and Greek texts, and numerous literature representing male and female same-sex erotic relationships. The largely 'socially diffused homosexuality' of the seventeenth century changed profoundly with 'clothes, gestures, language' connoting 'homosexuality'. The book shows how literary genres of male same-sex and female-sex desires such as Shakespeare's Sonnets, and Catherine Trotter's Agnes de Castro allow the modern reader to chart changes in their representation.

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Genre collisions and mutations
James Peacock

navigates a path between what Thomas Pavel dubs the ‘two temptations’ of genre theory: the desire to ‘freeze generic features, reducing them to immutable formulas’ and the desire, exemplified by Maurice Blanchot ( 1959 ), ‘to deny genres any conceptual stability’ whatsoever (Pavel, 2003 : 201). In the following analysis of Altman’s work, as well as the references to Dick Hebdige’s classic work Subculture

in Jonathan Lethem
Open Access (free)
Ethnicity and popular music in British cultural studies
Sean Campbell

practitioners, focusing specifically on its treatment of second-generation Irish rock musicians.3 To this end, the chapter re-examines Dick Hebdige’s Subculture (1979), a formative endeavour in the field’s engagement with questions of race, ethnicity and popular music, before going on to consider the more recent response of cultural studies’ practitioners to ‘Britpop’. This discussion draws attention to the narrow parameters of the ‘ethnicity’ framework underpinning this body of work. For if the field’s reception of secondand third-generation African-Caribbean and South Asian

in Across the margins
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Patsy Stoneman

, we can see that the ‘women’s community’ of Cranford is in no sense an alternative culture to that of the dominant Victorian male, but rather a supportive sub-culture delimited by the dominant group. The female support networks described by Smith-Rosenberg are, however, more dynamic than Cranford’s, because they are not just enclosed circles; their ‘ethic of caring’ extends onward in time through generational ties, and outward in space through contact with ‘proximate strangers’ (Noddings: 46–7). Cranford’s ‘strict code of gentility’ has the effect of closing the

in Elizabeth Gaskell
Economy, exchange and cultural theory
Simon Wortham

system by participation in it (the bestowal, according to Dick Hebdige, of ‘forbidden meanings’ upon commodities in youth subcultures, 6 for example, or, more recently, the political effectivity of consumer choice, selective buying and boycott described by Mica Nava 7 ) rather than challenging it by straightforward opposition and refusal (which translates, in classic Marxist

in Rethinking the university
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Jpod and Coupland in the future
Andrew Tate

turtle character’ into a skateboard game (‘BoardX’) (JP, p. 16). Yet unlike the extended, technogeek family from the Redmond, Washington Campus, the jPodders have few illusions about the possibility of escape. The arbitrary, bureaucratic process that placed these programmers together – all have surnames beginning with the letter J – is a symptom of their anonymous, affectless world. JPod is another subculture – a world within a world – rather like a 164 Douglas Coupland corporate, and more dispirited, version of the storytelling community of Generation X. The

in Douglas Coupland
Riding with Charles Olson
Iain Sinclair

, having worked through that engagement with local sub-cultures and topographies, and the tramp around London’s orbital motorway, was to step right away and in my old age, my biblical allotment of years rapidly approaching, to go back – or to make an imaginative return, if such a thing is possible, to the sites I had been reading about in fugitive magazines and booklets. Gloucester, Massachusetts, was as fabulous as Homer’s Troy; it was a familiar mystery not an achievable bus stop. Now, by the accident of launching out on a new book, I was there. Physically. In October

in Contemporary Olson
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Coupland's contexts
Andrew Tate

label to define any youth culture activity that bordered, however timidly, on the unconventional. The trend ignited debate between ostensibly disparate interest groups: marketing gurus, theologians and sociologists appropriated the tag and, with an array of suspect motives, were keen to understand the aspirations and fears of this emergent generation.9 Angry and listless, apolitical and environmentally conscious, godless and spiritual are some of the contradictory terms used as shorthand for a whole variety of sensibilities that seemed to define sub-cultures not

in Douglas Coupland
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End of empire and the English novel
Bill Schwarz

returned in the summer of 1957, he had been distressed by the violence of the emergent youth subcultures of the time, evident to him particularly in the teddy boys, whom he perceived to be a throwback to an earlier chauvinistic, imperial age.5 By April 1961 he had embarked on what he called his ‘novel about juvenile delinquents’.6 This was A Clockwork Orange, which appeared at the end of 1962 and which, as readers will know, comprises an extraordinary exploration of dystopian violence.7 Although not definitively set in England, there can be no doubt that it was a

in End of empire and the English novel since 1945