emotional /romantic bonds between women
This article examines 17th century French author Madeleine de Scudéry’s reworking of the legend of the Greek poet in Histoire de Sapho, and how it centers female friendship. The work depicts a woman-centered society in which women’s friendships are the organizing idel even for relations between men and women. Friendship is discussed as intimacy, inseparability, devotion, and passion within the context of the précieuse cultural movement.
This chapter examines several lives in the context of sexological theory and the rise of the binary homosexual/heterosexual model of desire. Psychologists pathologized previous models and patterns of same-sex relationships and focused on the sexually adventurous, dominating, “mannish” woman as the core prototype of the lesbian. At heart, these models revolved around “gender inversion” seeing the homosexual (male or female) as someone whose entire life and personality partook of a different gender than the one they were assigned at birth (to use the current terminology).
Part IV – Modernist Refashionings
This chapter looks at examples of intense, perhaps even destructive desrie that didn’t fit neatly into the available 19th century models for female love. So how did these women depict and understand their desires? One method was to displace the desire through taking on roles or working it out through fictional depictions. Some women understood their desire for a dominant position as a type of masculinity, as with the two women considered in this chapter: Eliza Lynn Linton and Vernon Lee (Violet Paget).
Part III – Cross-Age and Crossed Love
In looking for models for same-sex relationships, women drew from a number of familiar sources. The mother-daughter bond may be one that modern people find problematic, but many people used this image to express age-differentiated and asymmetrical bonds, regardless of whether the bond included an erotic aspect. [Note: Given that I’ve known heterosexual married couples in which the husband was “daddy” or the wife “mother”, I hesitate to judge female couples differently for using the same language and imagery.]
One approach to acceptance of same-sex desire was to view all love as a gift of God and therefore acceptable. This chapter looks at two examples of f/f love embedded in religious structures. Lesbians had far from a unified attitude toward religion, aligning themselves more often based on class or family attitudes, sometimes embracing them, sometimes rejecting.
Part II: Queer Relationships
This pair of chapters presents four biographies of women’s live affected by law or religion. These aren’t people with public significance but we still have a picture of how their desires conflicted with heterosexual expectations. We also get a picture of how attitudes towards women’s same-sex relationships were complicated and situational.
While chapter 1 looked at women who were able to forge exceptional lives through individual resources, whether of money or talent, this chapter looks at the options available through a supportive community. Specifically an extended community of English and American expatriates in Rome in the third quarter of the 19th century. The core of this group was formed of artists and writers, extended through their friends and partners. And at the center were actress Charlotte Cushman and sculptor Harriet Hosmer.
Part I – Husband-Wife Coupling
The first two chapters cover a number of couples who explicitly presented their relationships as marriage. They controlled people’s perception of the relationship by careful management of their public performance. The framing of the couples as “married” was often accompanied by one partner performing a somewhat more masculine style and perhaps attributing her attraction to women to an inherent masculinity.
This book addresses the question of why, given the attention paid (if patchily) by historians to women’s friendships, the subject of erotic F/F friendship is strikingly absent from study. This erasure makes it possible to argue for the absence of lesbians in the past, but the erasure goes beyond the erotic.