Relevant bibliographies by topics / Lesbian romance

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Lesbian romance'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "Lesbian romance"

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Hermes, Joke. "Sexuality in Lesbian Romance Fiction." Feminist Review, no. 42 (1992): 49. http://dx.doi.org/10.2307/1395129.

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Hermes, Joke. "Sexuality in Lesbian Romance Fiction." Feminist Review 42, no. 1 (1992): 49–66. http://dx.doi.org/10.1057/fr.1992.48.

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Harker, Jaime L. "The outside thing: modernist lesbian romance." Feminist Modernist Studies 3, no. 3 (2020): 314–17. http://dx.doi.org/10.1080/24692921.2020.1821479.

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Stokoe, Kayte. "Fucking the Body, Rewriting the Text: Proto-Queer Embodiment through Textual Drag in Virginia Woolf's Orlando (1928) and Monique Wittig's Le Corps lesbien (1973)." Paragraph 41, no. 3 (2018): 301–16. http://dx.doi.org/10.3366/para.2018.0273.

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Inspired by Judith Butler's conceptualization of drag as ‘gender parody’, I develop the conceptual frame of ‘textual drag’ in order to define and examine the relationship between parody, satire and gender. I test this frame by reading two seminal feminist works, Virginia Woolf's Orlando (1928) and Monique Wittig's Le Corps lesbien (The Lesbian Body) (1973). Both texts lend themselves particularly persuasively to analysis with this frame, as they each use parodic strategies to facilitate proto-queer satirical critiques of reductive gender norms. Orlando deploys an exaggerated nineteenth-century biographical style, which foregrounds the protagonist's gender fluidity and her developing critique of the norms and systems that surround her, while Le Corps lesbien rewrites canonical romance narratives from a lesbian perspective, challenging the heterosexism inherent in these narratives and providing new modes of thinking about gender, desire and sexual interaction.
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Betz, Phyllis M. "Hannah Roche. The Outside Thing: Modernist Lesbian Romance." Review of English Studies 71, no. 301 (2020): 799–801. http://dx.doi.org/10.1093/res/hgaa004.

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Wood. "Making the Invisible Visible: Lesbian Romance Comics for Women." Feminist Studies 41, no. 2 (2015): 293. http://dx.doi.org/10.15767/feministstudies.41.2.293.

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Wood, Andrea. "Making the Invisible Visible: Lesbian Romance Comics for Women." Feminist Studies 41, no. 2 (2015): 293–334. http://dx.doi.org/10.1353/fem.2015.0007.

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Heaney, Emma. "The Outside Thing: Modernist Lesbian Romance by Hannah Roche." Tulsa Studies in Women's Literature 39, no. 2 (2020): 362–64. http://dx.doi.org/10.1353/tsw.2020.0029.

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Garber, Linda. "Claiming Lesbian History: The Romance Between Fact and Fiction." Journal of Lesbian Studies 19, no. 1 (2015): 129–49. http://dx.doi.org/10.1080/10894160.2015.974381.

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Juhasz, Suzanne. "Lesbian Romance Fiction and the Plotting of Desire: Narrative Theory, Lesbian Identity, and Reading Practice." Tulsa Studies in Women's Literature 17, no. 1 (1998): 65. http://dx.doi.org/10.2307/464325.

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Dissertations / Theses on the topic "Lesbian romance"

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Roche, Hannah Elizabeth. "'The outside thing' : locating lesbian romance, 1903-1950." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15792/.

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This thesis examines the relationship between romance and ‘the outside’ in the works and lives of three modern lesbian writers: Gertrude Stein, Radclyffe Hall, and Djuna Barnes. I consider romance – in terms of both literary genre and the articulation of amatory attachments and desire – as a heterosexual space or plot upon which lesbian novelists have wilfully set up camp. The locating of lesbian romance in my title refers to romance as space, to the theoretical and political positioning of lesbian writing, and to the detection of lesbian themes in outwardly heterosexual novels. ‘The Outside Thing’ is taken from Stein’s meditation on romance (‘An American and France’, 1936), which, I argue, marries ‘outside’ (or expatriate) geography to ‘outside’ sexuality. ‘The Outside Thing’ might also define my methodology, as I consider alternative readings of canonical texts and address the significance of works on the peripheries. The thesis is presented in three parts: I. GERTRUDE STEIN Chapter 1 defines romance in Stein’s terms, reading Q.E.D. as a prototype lesbian romance. Chapter 2 penetrates Stein and Toklas’ domestic and romantic arrangement, examining Toklas (and lesbian love) as an ‘outside thing’ in relation to Stein’s work. II. RADCLYFFE HALL Chapter 3 challenges the popular view of The Well of Loneliness as an ‘ordinary [romance] novel’, going on to posit the ostensibly heterosexual Adam’s Breed as lesbian writing. Chapter 4 explores real-life romance in the affair between Hall and Evguenia Souline. III. DJUNA BARNES Chapter 5 positions Barnes in a new romantic and theoretical space, proposing a reading of her fiction and journalism as performative bisexual writing. Chapter 6 presents Nightwood as a bisexual romance. My project intervenes in ongoing discussions about the relationship between aesthetic obscurity and political radicalism, the middlebrow and the modernist, and the 'in' and the 'out'.
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Bourque, Dominique. "De l'intertextualité mythique dans Le Corps lesbien de Monique Wittig." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/10023.

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Dans Le Corps lesbien, Monique Wittig tente de degager le personnage de la lesbienne de la penombre textuelle dans laquelle il est progressivement entre apres les vers de Sappho, c'est-a-dire au fur et a mesure que se consolide, en Grece, la culture des envahisseurs patriarcaux (les Acheens et les Doriens) et que la religion chretienne point dans le bassin mediterraneen. L'auteure opere la "resurrection" parodique de cette figure avalee par l'histoire de la litterature occidentale, en s'appropriant les deux mythes charnieres de la mythologie biblique et paienne, soit celui de l'Eucharistie (tel qu'il est presente dans le Nouveau Testament), et celui de la metamorphose des chasseresses, ou compagnes d'Artemis, en proies (tel qu'il apparai t dans Les Metamorphoses d'Ovide). Wittig realise l'absorption et la transformation de ces deux hypotextes, ou intertextes de base, en les emmelant a des recits mythiques de la devoration ou de la metamorphose qui leur sont anterieurs, tels ceux du cannibale Thyeste, de l'avalement de Jonas par le "poisson" biblique ou du changement de dieux et de mortels en animaux, plantes ou elements. De la sorte, elle demystifie et recompose ces mythes en montrant et exploitant leur processus de creation. Dans un premier temps, cette etude se penche sur la deconstruction du mythe de l'Eucharistie par le biais du grand procede intertextuel de l'oeuvre, celui du "va-et-vient". Par la constante evocation du mythe de la Communion eucharistique a travers ceux des celebrations paiennes, ce procede met en relief le motif central de l'oeuvre qui est une "passion-consommation" amoureuse plutot que sacrificielle. (Abstract shortened by UMI.)
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Rodriguez, de Rivera Itziar. "Mujeres de Papel: Figuras de la "Lesbiana" en la Literatura y Cultura Españolas, 1868-1936." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10604.

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Mujeres de papel examines the representation of female same-sex desire in Spanish literature and culture between 1868 and 1936, drawing on novels, popular sex manuals, sexological treatises, postcards, and illustrations. While scholars have productively attended to Post-Francoist literary and cinematographic expressions of non-normative sexualities, my dissertation sheds new light on its rich yet discontinuous prehistories. I argue that the figure of the “lesbian” is a convergence point for the ideas, beliefs and anxieties of Spanish modernity. From the will to know and categorize to erotic fantasies, the “lesbian” constitutes a pervasive yet unstable trope, which resists and at the same time motivates its definition and control. Chapter one analyzes Francisco de Sales Mayo’s 1869 La Condesita (Memorias de una doncella), a work halfway between a private diary, an erotic novel, and a medical treatise, which features a provocative case of female homosexuality. The next two chapters grapple with literary, (pseudo)scientific, and visual artifacts of the so-called “sicalipsis,” or erotic wave that inundated Spanish culture between the late 19th century and the 1930s. Works studied in these sections include novels by Rafael Cansinos-Assens, Álvaro Retana, Artemio Precioso, and Felipe Trigo, popular sex manuals by Vicente Suárez Casañ and Ángel Martín de Lucenay, and visual erotica. Chapter four turns to the fiction of Feminist writer Carmen de Burgos in conjunction with the theories on “intersexuality” formulated by Gregorio Marañon, Spain’s most renowned scientist and public intellectual of the 1920s.<br>Romance Languages and Literatures
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Bergdahl, Liv Saga. "Kärleken utan namn : Identitet och (o)synlighet i svenska lesbiska romaner." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-32516.

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The aim of this thesis is to study representations of identity and (in)visibility in Swedish lesbian novels written in the 1930s, and to provide a summary of Swedish lesbian literature up to the early 21st century. This study has been done through a close reading primarily of Charlie by Margareta Suber (1932), Fröknarna von Pahlen by Agnes von Krusenstjerna (1930–1935) and Kris by Karin Boye (1934). Lesbian literature is discussed as a loose category, a construction which can be used as an analytical tool in a conscious and reflexive way, with its basis in the categories of author, text and reader. In short, I define lesbian literature as novels written by women, about lesbian figures and/or relationships, and for lesbian readers in the sense that the literature depicts lesbians from an insider’s perspective. As regards the period before 1930, the focus is on romantic friendship and the excitement zone when the romantic friendship becomes a sexual one, as seen in the fictitious case of Sin fars dotter (1920) by Lydia Wahlström. Sexological theories, the image of “the new woman” and changes to the law all colour the first half of the 20th century. This is seen in Charlie by Margareta Suber, where the author makes use of many such explanations in her creation of a lesbian figure. A reading of Fröknarna von Pahlen by Agnes von Krusenstjerna shows an intricate pattern of relationships at its heart. My analysis charts several same-sex couples, a lesbian single woman and two collectives; that is to say, the female collective and the male homosexual collective. The relationships between women are many-faceted and include everything from romantic friendship, kinship and sensualism to eroticism and shared parenthood. In my analysis of Kris by Karin Boye, I focus on Malin, the main character, and the development of her sense of identity, in which the struggle between the language of the world around her and her own emotional experience of love for a woman is a central theme. After the 1930s, the historical context changed in terms of everything from decriminalisation in 1944 via the homophobic panic of the 1950s to the impact of queer theory in the 1990s. Swedish lesbian literature addresses everything from crime of passion (murder) to the coming out process of young women. There exists in all novels from the 1930s an interplay that is (in)visible: the characters or lesbian relationships depicted are both visible and invisible at the same time. The characters are more or less aware of the potential risks attached to being visible as a lesbian, and often they do not notice themselves when this occurs. During the course of the 20th century, (in)visibility becomes replaced by openness and secrecy, and the visibility of the lesbian characters is politicised.<br>The abstract is translated by Janet French.
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Mohlin, Anna. "Den lesbiska blicken : En undersökning av blick och betraktarskap utifrån tre målningar av Romaine Brooks." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18132.

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This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon.
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"SARA GARCÍA: ICONO CINEMATOGRÁFICO NACIONAL, ABUELA Y LESBIANA." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.24961.

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abstract: ABSTRACT Mexican Golden Age Cinema materialized the narratives of identity, unity and morality that became the obligated point of reference to understand social stability and mexicaness during the post-revolutionary period. Hence, film stars evolved into cultural icons that embodied the representation of patriarchal order as a synonym for nationalism. However, dissident depictions that challenged carefully tailored heteronormative roles were as much a part of the post-revolutionary reality as was the attempt to manufacture a utopic heterosexual family on screen, that functioned as a metaphor for national reunification under the law of the father/president of the Mexican Republic. Nonetheless, even when an distinguished member of the Mexican star system, Sara García´s queer performativity of her quintessential sainted mother and even more revered grandmother characters highlights fissures in the effort to naturalize sexual passivity and heterosexual motherhood as the core of Mexican women identity. Furthermore, García took advantage of her romanticized butch characters in order to revert lesbian invisibility in movies where she portrait roles that exemplified sapphic households. In most of García's films masculine presence became redundant, hence challenging male privilege. Not very far from her own reality, García's queer women of a certain age, involved in female marriages, contested the post-revolutionary discourse of stability and mexicaness even in the heteronormative realm of Golden Age Filmmaking. Regardless of her queerness, unlike any other transgressive figure, Sara García became a national icon in her time and her image continues to hold relevance in current Mexican popular culture. More than five decades after her death young generations are still familiar with her legacy and her image has evolved into the representation of the nostalgia for tradition and alleged "more simple" times.<br>Dissertation/Thesis<br>Ph.D. Spanish 2014
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Books on the topic "Lesbian romance"

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1970-, Brown Angela, ed. Best lesbian romance. Cleis Press, 2007.

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Radclyffe. Best lesbian romance 2014. Cleis Press, 2014.

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Radclyffe. Best lesbian romance 2010. Cleis Press, 2010.

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1950-, Radclyffe, ed. Best lesbian romance 2009. Cleis Press, 2009.

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Radclyffe. Best lesbian romance 2011. Cleis Press, 2011.

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M, Christian, Elizabeth Coldwell, Heather Day, Izzy French, and Ralph Greco. Lesbian Romance. Accent Press Limited, 2016.

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M, Christian. Lesbian Romance. Accent Press Limited, 2016.

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Radclyffe. Best Lesbian Romance 2013. Start Publishing LLC, 2013.

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Radclyffe. Best Lesbian Romance 2013. Start Publishing LLC, 2013.

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Jones, Marjorie. Lesbian Romance: Loving the Heartland-Lesbian Romance Contemporary Romance Novel. Indie Artist Press, 2015.

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Book chapters on the topic "Lesbian romance"

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Loreck, Janice. "Romance and the Lesbian Couple: Heavenly Creatures." In Violent Women in Contemporary Cinema. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137525086_5.

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Esquibel, Catrióna Rueda. "A Duel of Wits and the Lesbian Romance Novel or Verbal Intercourse in Fictional Regency England." In New Perspectives on Women and Comedy. Routledge, 2022. http://dx.doi.org/10.4324/9781003273714-12.

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Gonzales-Day, Ken. "Brooks, Romaine." In Who's Who in Gay and Lesbian History, 2nd ed. Routledge, 2020. http://dx.doi.org/10.4324/9781003070900-73.

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Kerner, Aaron. "Romance." In Abject Pleasures in the Cinematic. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399501101.003.0007.

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This chapter examines Chan-wook Park’s 2016 film The Handmaiden through the lens of the (lesbian) romance genre. The Handmaiden appeals to our emotions (narrative content) and to our affective experience (style and cinematic form).
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"SEXUALITY IN LESBIAN ROMANCE FICTION." In Feminist Review. Routledge, 2005. http://dx.doi.org/10.4324/9780203990698-6.

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Parker, Sarah. "10 ELIZABETHAN LOVEMAKING: COLLEGE ROMANCE AND QUEER ANACHRONISM IN EDNA ST. VINCENT MILLAY’S THE LAMP AND THE BELL." In Interrogating Lesbian Modernism. Edinburgh University Press, 2023. http://dx.doi.org/10.1515/9781474486071-014.

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Essig, Laurie. "Conclusion." In Love, Inc. University of California Press, 2019. http://dx.doi.org/10.1525/california/9780520295018.003.0007.

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This chapter travels to the most perfect ending to romance: a life within the nuclear family in a suburb built by Disney, Celebration Florida. Essig argues that suburbia and its promise of happiness were always doomed to fail as the “real world” intruded on the bubble of romance. Finding no happiness in the traditional path of romance, Essig travels to a mass lesbian wedding at the end of the world to ask why romance doesn’t make us happier as individuals or a nation. The answer has everything to do with privatizing our increasingly insecure future and offers a
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Matelski, Elizabeth. "“I’m Not the Only Lesbian Who Wears a Skirt”: Lesbian Romance Fiction and Identity in Post–World War II America." In Romance Fiction and American Culture. Routledge, 2017. http://dx.doi.org/10.4324/9781315563237-6.

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Kelly, Alice M. "Female Homoeroticism and The Rescue ’s ‘Lesbian Context’." In Decolonising the Conrad Canon. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856462.003.0002.

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Moving away from Conrad scholarship’s traditional emphasis on the aberrant lesbian body, namely that of Mrs Fyne in Chance, this chapter turns to the queer affects that animate female characters in Conrad’s writing. From the queer shelter, domesticity, and affection of ‘Freya of the Seven Isles’ between the titular white Freya and her mixed-race maid Antonia, to the charged homoerotic tension between Malay Princess Immada and British Aristocrat Edith Travers in The Rescue, the ‘lesbian contexts’ of Conrad’s works reveal the queer dissonances threatening to rupture heteropatriarchal colonial romance plots at every turn. That homoeroticism is so much more readily identified in relationships between men in Conrad’s colonial fiction, such as in ‘The Secret Sharer’, is a symptom of the wider academic objectification of female characters (especially female characters of colour) that persistently fails to read non-white non-male bodies as capable of desiring subjecthood.
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Jones, Gwyneth. "Beyond Gender?" In Joanna Russ. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042638.003.0007.

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“Beyond Gender?” examines projects Joanna completed, despite serious health problems, at the end of her career--including a semi-autobiographical, postrealist lesbian romance, On Strike against God (1980), and Extra(Ordinary)People (1984), an interrogation of utopia that moves from the exceptional “female hero” in “Souls” through gender as performance in “The Mystery of the Young Gentleman” and gender polarity as redundant in “Bodies,” to a re-visioning of the Female Man’s dreadful war between Manland and Womanland. A playful, summarized gothic romance provides a coda. Essays discussed include “To Write Like a Woman,” on Willa Cather, and “Pornography by Women, for Women, with Love,” a study of the K/S phenomenon. Stories include “The Little Dirty Girl” and the poetic, feminist call to arms “Swordblades and Poppyseeds.”
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