Several of the articles in Same Sex Love and Desire Among Women in the Middle Ages look outside the European sphere that the phrase “Middle Ages” normally implies. Malti-Douglas looks at the language and discorse around lesbianism in medieval Arabic texts, particularly as contrasted with the treatment of male homosexuality which is mentioned extensively in medieval Arabic/Islamic texts.
emotional /romantic bonds between women
This is a very general tag for any circumstance where specific emotional bonds are established between a pair of women.
LHMP entry
This article looks at the language of personal love and affection between medieval cloistered women. This social context provides an interesting window expressions of female same-sex desire due to three intersecting factors: the gender-segregated nature of their communities, the relative autonomy (economic and intellectual) women enjoyed within these communities, and the high degree of literacy among cloistered women (allowing us glimpses into their lives via their own words).
The increasing divide between the derided image of erotic sapphic relations and the praiseworthy image of female domesticity, epitomized by non-erotic woman+woman couples, is played out in attitudes toward certain couples. The “Ladies of Llangollen” (Eleanor Butler and Sarah Ponsonby) were firmly established in the popular imagination as the model of non-sexual romantic friendship.
Lanser emphasizes again that this study is not looking for historical lesbians--particularly given that the majority of the texts she examines are by men--but for ways the image of the lesbian is used public discourse.
Lanser examines the conjunction of the novel as a genre with "modernity" as defined in this work and considers its relationship to sapphic themes, despite the superficially overwhelming heteronormativity of the genre. One hallmark of the novel is the way in which it explores the contradictory imperatives of self-determination and socialization. The focus of the novel on the formation of couples and the subjective nature of desire opens the conversation--as previously seen with political and social conversations--to the inclusion or exclusion of sapphic subjects under that rubric.
The chapter begins with a survey of the types of published materials that led Lanser to identify the late 16th century as a shifting point in the discourse around sapphic topics. In 1566 a Swiss writer provides an account of a French woman who disguised herself as a man, worked as a stable groom and then a wine grower, married another woman, was eventually unmasked, and was executed. He notes “how our century can boast that beyond all the evils of the preceding ones” and explicitly disclaims any connection between events such as this and the “tribades in ancient times”.
The article begins with a 16th century Spanish literary interchange between two women -- ostensibly a matchmaker and her client, but one rife with same-sex expressions of desire and moving into erotic play. After a standard review of a cultural/legal context where concern over male homosexuality did not extend to a similar concern about women unless a direct challenge to male prerogatives was involved, the article examines evidence from the life and memoirs of Leonor López de Córdoba, covering the late 14th and early 15th centuries.
This article traces the relationship, documented in letters, between two black women during the period around the end of the American Civil War. Both women were free-born and lived the earlier part of their lives in Connecticut, but one of the two spent time in the south after the war as a teacher, so a wider variety of social issues came into their lives. The two correspondents were Addie Brown, a domestic worker, and Rebecca Primus, a school teacher.
The general topic of this article is the use of music and musical imagery in the experience and expression of religious devotion, particularly as an embodied experience. The starting point for the thesis is the establishment of a rhetoric of embodied sensual experience of “divine music” both as a metaphor and as literal sensory perception. The author states: “I will explore just a few of the many ways in which Hildegard’s musical compositions exemplify her own conceptions of body--particularly the female body--and its central role in religious devotion.
I desperately desperately wanted to love this novel. Unfortunately, it fought me every step of the way.
Habib is a scholar of the history of sexuality, and particularly female same-sex desire, as reflected in medieval Arabic texts. This novel grew out of that research and weaves a complex portrait of the lives of several women recorded in 9th century Baghdad, at a time when it was possible--if not at all easy--for women who loved each other to make a place for themselves, sometimes in private but sometimes as public figures.
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