I downloaded this because I had a link to it, but in the end after reading halfway through I decided not to blog it in detail. It’s interesting and competent as an undergraduate paper, examining comparative imagery in the work of Katherine Philips and near-contemporaries especially John Donne. But the paper didn’t seem to have anything genuinely new in terms of the historic record.
Poetry: Love Between Women
Poetic works or authors of works that feature depictions of romantic love or desire between women.
LHMP entry
Andreadis opens by providing evidence that in the 17th century, people were quite capable of envisioning same-sex marriage as a concept, even if only in counter-factual situations. Popular opinion tended to divide female homoeroticism into two populations: those perceived as deviant and assigned labels like tribade, confricatrix, rubster, or tommy, and those who conformed to social expectations while expressing erotically-charged sentiments but left no trace of related sexual activity.
Nossis was a female poet of the Greek Hellenistic period (approximately 2 centuries after Sappho), 11 of whose poems have survived. This article discusses how her work reflects a self-conscious identity specifically as a female poet and as one who sees herself as following in the tradition of Sappho.
This article examines the interactions of class and sapphic desire in the “long 18th century,” arguing for a complex interaction between the two. That is, that class could insulate women from scrutiny of their intimate friendships with women, but that suspicion concerning women’s intimate friendships could degrade their class standing.
Introduction: Who is the Lesbian?
For the purposes of this book, “British lesbian history” begins in the late 18th century. It was unclear to me if this was simply a chosen scope based on the source material they wanted to present, or if the authors believe there is no lesbian history prior to that date. They assert that “lesbian identity” is a late 20th century concept. “Women…did not necessarily have a language to describe themselves as lovers of women.” [Note: we can take it as given that I disagree with that position.]
The introduction reviews the history of feminist literary criticism and notes that it has tended to focus on prose. Multiple filters and gatekeeping mechanisms stand in the way of presenting non-Anglophone feminist poetry to a larger audience. Feminine stereotypes have pressured women poets into restrictive genres: domesticity, romance, religion, etc. This collection seeks out pets and poems that operate against this restriction.
Introduction: Shifting Sisters
The focus of this article, in Andreadis’s words is “a class of women and behaviors described by their contemporaries in ways that coincide with our modern ‘lesbian’.” There is still much uncertainty within that description as to how these women and their society understood these concepts, and Andreadis’s thesis is that as such behaviors begin to be framed in public discourse as transgressive, women who engaged in the same behaviors but wished to be viewed as “respectable” developed a coded language to express sexual feelings in the language of female friendship – a shift that Andreadis labe
Stepping back from the cynical take on “tender friendship” that developed by the end of the 17th century, this chapter looks at an example of the sincere version, via a deep dive into the life and work of English poet Katherine Philips. Half a century before Manley’s New Cabaland in contrast to Behn’s overt eroticism, Philips represents the “polite” culture of female intimacy...or does she?
Chapter 3 - L’Amour Galantand Tendre Amitié: Love and Friendship Outside the Bonds of Marriage
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