Homoeroticism

Edgar Allan Poe’s multifaceted representation of homoeroticism through “The Murders in the Rue Morgue,” “The Mystery of Marie Rôget,” and “The Purloined Letter” is truly a departure from typical nineteenth-century portrayals of same-sex desire within literature. Rather than being something that Poe strives to suppress, the homoeroticism present throughout all three Dupin tales is meticulously ingrained into the structure of the texts and unapologetically nurtured, whether it be through individual

Homosexuality and Homoeroticism in the Elizabethan Era and Shakespearean Theatre In light of recent human rights movements, homosexuality is a topic that has moved to the forefront of social justice movements. Men and women alike are attempting to have their voices heard and being accepted into the current culture. However, hundreds of years ago, this was not an acceptable movement. When looking at homosexuality and the homosexual, it is important to look at how Elizabethan society categorized

the lyrical subject challenges the reader: “Here to put your lips upon mine I permit you, / With the comrade’s long-dwelling kiss or the new husband’s kiss, / For I am the new husband and I am the comrade” (135). Another poem interwoven with homoeroticism is To a

love letters to his male interests. It is safe to say Melville was bisexual, but no one will know for sure. In Billy Budd, Sailor, Melville wrote in a gay character, which is Claggart. Dana Silva, a publisher in Agora, in her paper “Exploring Homoeroticism in Herman Melville’s Novella Billy Budd, Sailor,” published in Agora, explains: Unobserved and thus left to indulge in his own private desire, Claggart, while viewing Billy, is torn between his maritime sexual yearnings and his heterosexual societal

Male homoeroticism in Plato's Symposium and the Greek lyric poets: Complimentary or contradictory? Works Cited Missing Images of male homosocial and homoerotic relations pervade Athenian culture. From plays to poetry and jugs to the justice system one can find these relations represented pictorially and in words. But do all these images align with each other or are there irreconcilable differences between them? To look at this question we will take two small pieces of culture, a philosophical

presented with a portrayal of an effeminate man with a flair for the dramatic and a queenly attitude. Aristophanes’ Agathon is a comic character to be laughed at, a man that is more female than male. In looking at this view of Agathon, Greek views of homoeroticism are brought up and Agathon’s reputation and character in the world of Ancient Greece is brought into question. How much of

Shakespeare’s Romeo and Juliet as a notable representation of genuine hetero love. This theory intends to dig all the more profoundly into the issues of affection and sexuality in the play and investigate its inconspicuous underlying topics of homoeroticism and hazardous heterosexuality through a dissection of the film adjustments of Romeo and Juliet from the recent twentieth-century: Franco Zeffirelli‟s 1968 Romeo and Juliet and Baz Luhrmann‟s 1996 William Shakespeare 's Romeo + Juliet. Love and

Male-to-male relationships are an important integrant of nineteenth-century British society and literature. Throughout the nineteenth-century shifts of masculine self-identification took place (Dellamora, 2). And homosociality is the unacknowledged entity that exists between the intestacies of solid masculinity. Jean Lipman-Blumen defines homosocial as: Enjoyment, and/or preference for the company of the same sex…it does not necessarily involve…an explicitly erotic sexual interaction between

Gender plays an important role in Shakespeare’s comedies. Cross gender roles and cross dressing are essential not only for the inherent humour of the situation but also for the advancment of the plot. English Renaissance stereotypes of women and men and their various roles and responsibilities in society are reflected in Shakespeare. What sets Shakespeare apart is the fact that he also challenges, and at times even breaks down those stereotypes especially in his comedies. Hamlet may proclaim “Frailty

performance was in London in 1740, a time when popular literature ‘associated homoeroticism with “revulsion, violent [for] the loathsome and evil thing”’ an to the Elizabethans homoeroticism was “abhorred, polluted and unclean… and all that is beastly and obscene”. (Sokolovic-Cizmek, 2003, P) As odd as it may sound, one may believe from that, that Elizabethan society wouldn’t tolerate anything slightly resembling homoeroticism, yet homoerotic practice was widespread in the ‘early modern period’ among