This is the most extensive article I’ve found concerning an early 15th century French legal case that is often cited in lists of medieval European evidence for lesbianism. It includes a full translation of the original records (although it doesn’t include the full original text). The article emphasizes interpreting this case in the context of other legal cases with which it shares features, specifically other applications for royal pardon and other records involving sexual offenses, especially those involving same-sex activity.
France
Covering approximately the region of modern France in western Europe, or to topics relating to French-language culture in Europe.
LHMP entry
This dissertation didn’t have quite as much information about actresses as I thought it might. The majority of the focus is on playwrights—which is wonderful and informative! But I ended up skimming a lot to pull out the bits on actresses.
This analysis considers the parallels in the emergence of women as central the public stage and the private salon, both of which opened up new roles, and both of which became a focus of morality-based criticism, taking the view that women “putting themselves forward” was inherently dangerous to feminine morals.
When we think of dramatic performance by courtiers, masques tend to be the first image, but this article examines the performance of stage plays by the English court under Henrietta Maria, Queen to Charles I. The queen was French and imported French attitudes and expectations to the sphere where she could set the rules. In particular, she greatly increased women’s performance on the court stages, and amateur women’s theatricals became a regular feature of the court.
Despite the prominence of the word “tribadism” in the article title, it has only a small focus on this topic. The overall focus is on the public reputations and images of actresses in late 18th century French (especially Parisian) society, and particularly how those reputations and images had political overtones. Prominent actresses participated in a public economy of “pop culture” that would be familiar to people today, including the availability of souveniers and being the focus of gossip rags.
Blake is looking at the history of the dildo in early modern culture not as a physical object, but as fulfilling the function of a fashion accessory. This, despite opening the conversation by stating that she is not viewing it for its symbolic purpose, but for its functional one. In passing, she notes that philosophical arguments about the function on the dildo in history have resonances with modern arguments about the symbolism and function of dildoes in lesbian relationships.
This chapter looks at two creative movements that intersected strongly with queer representation. Of these, the decadent movement was more pervasive. While centered in France, it was international in scope, while the aesthetic movement was primarily British. The author is interested in these movements in how they expressed the complexities and contradictions of developing “queer modernity.”
{The following material appears in the longer edition only.}
L'HERMAPHRODITE,
OU
LETTRE
D'ANNE GRANDJEAN
A FRANÇOISE LAMBERT SA FEMME,
Nec duo sunt, sed forma duplex; nec femina dici,
Nec puer ut possit, nec utrumque & utrumque videtur.
Ovid. Metam.
THE HERMAPHRODITE,
OR
LETTER
FROM ANNE GRANDJEAN
TO FRANÇOISE LAMBERT ZIR WIFE,
NOTA. Par Arrêt rendu en la Chambre de la Tournelle du Parlement de Paris, le 10 Janvier 1765, Monsieur le Procureur Général a été reçu appellant comme d'abus de la célébration du mariage d'Anne Grandjean, & ce mariage à été déclaré abusif; la Sentence de la Sénéchaussée de Lyon, sur l'accusation en profanation de Sacrement, a été infirmée, & l’Accusé a été mis hors de Cour; il lui a néanmoins été enjoint de prendre les habits de femme; avec défenses de hanter Françoise Lambert, & autres personnes du même sexe.
Mais nous avons annoncé des preuves d'un autre genre.
But we have announced evidence of another kind.
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