Titlebook: Queer Italia: Same-Sex Desire in Italian Literature and Film; Gary P. Cestaro Book 2004 Gary P. Cestaro 2004 essay.film.gender.history.Int

Customary

,Secret Wounds:The Bodies of Fascism in Giorgio Bassani’s ,ssociation with homosexuality.. One of the earliest instances of this occurs in Roberto Rossellini’s classic film, . (1945). This celebration of the Italian resistance under German occupation depends on a bold distinction that conflates ethics and sexuality. The political rectitude of the partisans

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袖章

separate

aggressor

,Bibbiena’s Closet: Interpretation and the Sexual Culture of a Renaissance Papal Court,nto account Bayle’s own extended footnote to the controversial phrase, in which he gingerly distances himself from claiming authoritative evidence in the matter. Roscoe fails as well to mention a similar case in Bayle’s ., which sheds some light on his treatment of Leo.

corporate

Knots of Desire: Female Homoeroticism in , 25,na ardente a poco a poco / Un’altra fiata, se mi fia concesso, / Raccontarovi il tutto per espresso” (3.9.26.5–8). (So I will leave this hopeless love / Of simmering Fiordispina. / Some other time, if God permits, / I’ll tell you all there is to this.)

Arbitrary

Beauty and the Beast: Lesbians in Literature and Sexual Science from the Nineteenth to the Twentiethfeld. In 1897, Hirschfeld founded the Scientific Humanitarian Committee, which worked for the abolition of antisodomy laws and included lesbian women.. Hirschfeld, a doctor, theorized the distribution of human sexuality across a natural scale that went from masculinity on one end to femininity on t

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,Desire and Disavowal in Liliana Cavani’s “German Trilogy”,tion that Cavani’s sexuality is readily manifest in her work, I will argue that a specifically “l(fā)esbian” signature does not manifest itself here in any direct or unequivocal way. Focusing on three of Cavani’s best known films, where we find a recurrence of “gay” and “l(fā)esbian” configurations (and, ev

peak-flow

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