Here's the Call for Submissions for 2025. There are no substantial changes from last year's call.
Here's the Call for Submissions for 2025. There are no substantial changes from last year's call.
(Originally aired 2024/10/19 - listen here)
(Originally aired 2024/10/05 - listen here)
Welcome to On the Shelf for October 2024.
(Originally aired 2024/09/21 - listen here)
Introduction
(Originally aired 2024/09/07 - listen here)
Welcome to On the Shelf for September 2024.
I usually start off these episodes by commenting on the passage of time or noting something about the season. This month, you get to hear about What I Did On My Summer Vacation. Ok, not all the things I did, but the ones relevant to the podcast.
Lesbian Historic Motif Podcast - Episode 294 – Follow the Monkey by Jamie McGhee - transcript
(Originally aired 2024/08/31 - listen here)
This is the last of the books and articles I read as background for the Actresses/Stage tropes podcasts. (I had a bunch of posts lined up -- finished doing the reading a couple weeks ago and recorded the first of the two podcasts last weekend.) Just in time, since I'm flying out tomorrow evening for my Worldcon-related travels.
And speaking of which, I'll be on a panel at Worldcon titled "Sword Lesbians: Discuss". My co-panelists are Christina Orlando (moderator), Ellen Kushner, Em X. Liu, and Samantha Shannon. Here's the panel description:
Although appended to a book discussing theatrical cross-dressing, this catalog presents a contrast in how actual women (of the lower classes) were treated when found or accused of cross-dressing.
Lesbian Historic Motif Podcast - Episode 293 – Our F/Favorite Tropes Part 14a: Actresses and the Stage - transcript
(Originally aired 2024/08/17 - listen here)
Cross-gender play and disguise is rampant on Shakespearean comedies (and, as we have seen in recent material, in early modern drama generally across Europe). There are two ironies to scenarios of female homoeroticism on Shakespeare's stage. One is that among the professional acting companies staging them, all parts--even women romancing women--were played by male actors. But the other irony is that the scenarios of playful, protective, or adventurous gender disguise that audiences clearly loved to see on stage could be viewed very differently when carried out by ordinary women.