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× 141 cm including frame, tempera on wood) depicts a homoerotic initiation in a medieval Christian atmosphere: in an altar space, before a Gothic window wall, the initiand (right) swears on the (ritual) sword. A kind of backwards-facing utopia, it is an audacious blend of ‘churchliness’ with naked

in The Brill Dictionary of Religion Online
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PHILO AND FEMALE HOMOEROTICISM Philo's use of γυνανδρ O ς and recent work on tribades by HOLGER SZESNAT Pacific Theological College According to Judith Hallett, women who had sexual relationships with other women were increasingly becoming a matter of concern to male authors in the late

In: Journal for the Study of Judaism
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Homoerotic play was central to the recreational culture of theatergoing from the mid-Qing to the beginning of the twentieth century, especially in Beijing. Theatergoing literati in particular played an important role in the production and reproduction of an elite, theater-based, homoerotic sub-culture, heavily investing themselves in the pursuit of social distinction. While it is important not to underestimate the importance of lower-status audiences in the popularisation of Peking opera, the literati doubtlessly considered themselves the aesthetic vanguard in terms of both the judgment of staged drama and the literary promotion of romances between themselves and the boy-actors offstage. Unlike “flower-guides” (Huapu) that circulated between friends, diaries from the period record private thoughts on the scene that would not, and could not, be expressed in public. Drawing on the diary of the influential late-Qing scholar-official Li Ciming (1830–94), I focus on the question of how an understanding of public participation entered Li’s diaries, as well as examining what his self-representations have to say about Qing literati ownership of homoerotic sensibilities and spaces, which is to say, how he saw himself as presenting to others and how that self-presentation is (re-)presented in his writing.

In: Frontiers of History in China
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constitutes an inherently ambivalent and forlorn figure who, notwithstanding his passion for a woman, displays signs of a non-heteronormative sexuality. 4 Nicholas Hammond has noted that homoerotic subtexts in Bérénice are discernible but ‘are never more than suggestions’. 5 It is my contention that