By Florence Tamagne
Booklet via Tamagne, Florence
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James Merrill and W. H. Auden deals a considerable research of the literary and private courting among significant twentieth-century poets. As Gwiazda argues, Auden's prominence within the post-World battle II American poetry scene as a gay poet and critic makes his influence on Merrill really noteworthy.
Silas Mason has no illusions approximately himself. He’s now not lovely, or maybe likable. He’s an overbearing idealist, an intensive bookseller and pamphleteer who lives for revolution . . . and for Wednesday nights. a week he meets anonymously with an analogous guy, in whom Silas has stumbled on the correct meld of highbrow companionship and absolute obedience to his sexual instructions.
Extra resources for A History Of Homosexuality In Europe: Berlin, London, Paris 1919-1939
See annexes (in volume 2 of this work). For more on this topic, see Das Lila Wien um 1900, zur Ästhetik der Homosexualitäten, Vienne, Promedia, 1986, 127 pages. ” 66. Cited in particular by Frank Oliver, a navy mechanic, in Walking after Midnight (op. ), John, a dancer and gigolo, in Between the Acts (op. 21-24). 67. See Myrtle Salomon and Olive Ager at the National Sound Archives (Hall-Carpenter Archives), and Gifford Skinner, “Cocktails in the Bath,” loc. cit. 68. Fred, a hobo, in Between the Acts, op.
The front as a school in homosexuality By bringing men closer together in situations of extreme danger, the war was a fertile ground for the development of homosexual friendships; and thus it served to relieve homosexuality of some of the tension and drama surrounding it. Warrior aesthetics is based largely on homoeroticism; by focusing on the male body, by accentuating virile characteristics, it strives to create an ideal male society. Saint-Loup, in Temps retrouvé, takes advantage of the war to live out a fantasy homosexual romance.
However, while this new fashion was indeed shocking, it was not always seen in negatively, especially among young people. The flapper, who hung around with young men of her age, was easily accepted as a comrade who could share common interests in sport or dancing, who was not physically timid, whom one did not have to treat with special care. Without exaggeration, one can see that the flapper perfectly embodied the other side of the homosexual tendency that suffused the post-war period. The companion from the trenches is substituted by an androgynous wife who, with her flat chest and her helmet of short hair, may even recall the ideal friend met during the war.
A History Of Homosexuality In Europe: Berlin, London, Paris 1919-1939 by Florence Tamagne