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首页> 外文期刊>Women: A Cultural Review >a??A Girl's Lovea??: Lord Alfred Douglas as Homoerotic Muse in the Poetry of Olive Custance
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a??A Girl's Lovea??: Lord Alfred Douglas as Homoerotic Muse in the Poetry of Olive Custance

机译:一个《女孩的洛芙娅》:阿尔弗雷德·道格拉斯勋爵(Lord Alfred Douglas)饰演橄榄色诗歌中的同性缪斯

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This article explores the relationship between the poet Olive Custance and her husband Lord Alfred Douglas, arguing that Custance constructed Douglas as a male muse figure in her poetry, particularly the sequence a??Songs of a Fairy Princessa?? (Rainbows 1902). The introduction sets out Custance's problematic historical positioning as a a??decadenta?? poet who published nothing following the Great War, but whose work came too late to fit into strictly a??fin de si?¨clea?? categories. I suggest, however, that Custance's oscillating constructions of gender and sexuality make her more relevant to the concerns of modernity than has previously been acknowledged and her work anticipates what is now termed a??queera??. The first main section of the article traces the cultural background of the fin de si?¨cle male muse, arguing that Custance's key influencesa??male homoerotic writers such as Wilde and Patera??meant it was logical that she should imagine the muse as male, despite the problems associated with gender-reversals of the muse-poet relationship which have been identified by several feminist critics. I then move on to focus specifically on how Shakespearean discourses of gender performance and cross-dressing played a key role in Custance and Douglas's courtship, as they exchanged the fluid roles of a??Princea??, a??Princessa?? and a??Pagea??. The penultimate section of the article focuses on discourses of fairy tale and fantasia in Custance's a??Songs of a Fairy Princessa?? sequence, in which these fantasy roles contribute to a construction of Douglas as a feminised object, and the relationship between the a??Princea?? and a??Princessa?? is described in terms of narcissistic sameness. My paper concludes by tracing the demise of Custance and Douglas's relationship; as Douglas attempted to be more a??manlya??, he sought to escape the role of object, resulting in Custance losing her male muse. But her sexually-dissident constructions of the male muse remain important experiments worthy of critical attention.View full textDownload full textKeywords fin de si?¨cle , muse, fairy tale, homoeroticism, aestheticism, sexuality and gender, The Yellow Book , bisexuality, masculinity, The GazeRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/09574042.2011.585045
机译:本文探讨了诗人奥利夫·库斯汀(Olive Custance)和她的丈夫阿尔弗雷德·道格拉斯勋爵(Lord Alfred Douglas)之间的关系,认为库斯汀将道格拉斯(Douglas)构造为她诗歌中的男性缪斯形象,特别是“仙女的歌曲”的序列。 (彩虹1902年)。引言阐明了Custance作为“十年”的历史性定位。在大战后没有发表任何诗人的诗人,但是他的作品来不及了,以至于不能完全符合“ fin de si”(clea)的定义。类别。但是,我建议,由于Custance性别和性行为的摇摆结构,使她与现代性的关注度比以前得到承认的更为重要,她的工作预示了现在所说的“ queera”。本文的第一节主要介绍了鳍鳍雄性缪斯女神的文化背景,并认为Custance的主要影响力来自于诸如Wilde和Patera之类的男性同性恋作家,这意味着她应该将缪斯女神想象为男性,尽管有一些女权主义批评家指出与缪斯-诗人关系的性别逆转有关的问题。然后,我将继续专注于莎士比亚关于性别表现和着装的论述如何在Custance和Douglas的求爱中发挥关键作用,因为他们交换了“ Princea”,“ Princessa”的流动角色。和一个“ Pagea”。文章的倒数第二节重点介绍了Custance的“童话公主之歌”中的童话和幻想小说。这些幻想角色有助于使道格拉斯成为女性化对象,并与a?Princea ??还有一个?Princessa?用自恋的相同性来描述。我的论文的最后是追溯Custance和道格拉斯关系的消亡。道格拉斯(Douglas)试图扮演更多的“男子汉”(manlya),他试图逃脱对象的作用,导致居斯汀(Custance)失去了她的男性缪斯女神。但是她对男性缪斯人的异见性构造仍然是值得关注的重要实验。查看全文下载全文关键词fin de sicle,缪斯,童话,同性恋,唯美主义,性与性别,黄皮书,双性恋,男性气质,GazeRelated var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,services_compact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布日期:“ ra-4dff56cd6bb1830b”} ; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/09574042.2011.585045

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