Open Access (free)
Intimacy, Shame, and the Closet in James Baldwin’s Giovanni’s Room
Monica B. Pearl

This essay’s close interrogation of James Baldwin’s 1956 novel Giovanni’s Room allows us to see one aspect of how sexual shame functions: it shows how shame exposes anxiety not only about the feminizing force of homosexuality, but about how being the object of the gaze is feminizing—and therefore shameful. It also shows that the paradigm of the closet is not the metaphor of privacy and enclosure on one hand and openness and liberation on the other that it is commonly thought to be, but instead is a site of illusory control over whether one is available to be seen and therefore humiliated by being feminized. Further, the essay reveals the paradox of denial, where one must first know the thing that is at the same time being disavowed or denied. The narrative requirements of fictions such as Giovanni’s Room demonstrate this, as it requires that the narrator both know, in order to narrate, and not know something at the same time.

James Baldwin Review
John Marriott

superstition, or the effeminacy which a long career of despotism is sure to produce, the present Hindoos are the children of a degenerate age, and the veriest dwarfs, when compared with the heroes and the giants of which their history can boast, and who seemed to be more in keeping with the grandeur and magnificence of their country. 4

in The other empire
Open Access (free)
The use of character evidence in Victorian sodomy trials
H. G. Cocks

. In fact the principal evidence comprised the competing testimonies of the police and a few conveniently myopic bystanders. Neither were Campbell’s intentions judged by the nature of his attire. Effeminacy, which might have been inferred from his dress, was not considered an inevitable sign of homosexual desire.4 In fact, Campbell’s explanation of his clothing as a form of disguise was accepted without murmur by the court. In the absence of a clear description of the defendant’s actions or a recognised interpretation of his general demeanour, evidence of the

in Domestic and international trials, 1700–2000
Open Access (free)
British masculinities, pomophobia, and the post-nation
Berthold Schoene

the unheimlich aspects of the feminine’ (1995: 201) as, more specifically, the Scottish male’s fear of his own intrinsic self-and-otherness, or ‘effeminacy’? Notably, within the imperial framework of English-Scottish relations, the Scottish male is always already feminised as a disempowered native (br)other. His condition is one of subordinate marginalisation which, whilst sensitising him to the plights of the systemically oppressed (women, for example), makes it all the more important for him to rigorously detach himself from the feminine, both within and outside

in Across the margins
Open Access (free)
Robin Norris

’. 24 Since Hrothgar does apparently shed tears, Kristen Mills ‘re-examine[s] the farewell scene in light of other texts where the formula of a man falling on another's neck, kissing him, and weeping occurs’; 25 these parallels do not suggest ‘abnormality or effeminacy when men embrace, kiss, and weep during a reunion’. 26 This farewell is not a definitive moment of closure but leaves many questions open

in Dating Beowulf
Open Access (free)
Charlotte Perkins Gilman, Sarah Grand and the sexual education of girls
Janet Beer and Ann Heilmann

. For Wilde and other ‘degenerate’/ ‘effeminate’ writers of the fin de siècle see Alan Sinfield, The Wilde Century: Effeminacy, Oscar Wilde and the Queer Movement, London, Cassell, 1994; Joseph Bristow, Effeminate England: Homoerotic Writing after 1885, Buckingham, Open University Press, 1995; Sally Ledger, ‘The New Woman and the Crisis of Victorianism’, in Sally Ledger and Scott McCracken (eds), Cultural Politics of the Fin de Siècle, Cambridge, Cambridge University Press, 1995, pp. 22–44; and Sally Ledger, The New Woman: Fiction and Feminism at the Fin de Siècle

in Special relationships
The ends of incompletion
Chloe Porter

, furthermore, it can be said that the choice not to depict him in sumptuous attire protects his masculinity, since ‘social emulation of aristocratic splendour created … effeminacy in upstart men’. 57 The appeal of the naked body as a symbol of strength in this context is also indicated by the fact that when using the template of Boorde’s image to describe French habits of dress, Robert Dallington depicts

in Making and unmaking in early modern English drama
Open Access (free)
Greeks and Saracens inGuy of Warwick
Rebecca Wilcox

of Monmouth I: Bern, Burgerbibliothek, MS 568, ed. Neil Wright (Cambridge, 1985), pp. 128–9. Here Geoffrey explicitly links the Greeks with femininity or effeminacy. Implicitly, chroniclers of the Crusades often make this connection as well, frequently by citing the Greek aversion to hand-to-hand battle. This episode, in which Guy’s lion is killed by a Greek traitor, seems to invert a historical event of the Crusade of 1101. According to Runciman, the Crusaders killed Alexius I’s pet lion during their brief riot in Constantinople (History of the Crusades, vol. 2, p

in Pulp fictions of medieval England
John Marriott

selfishness’, and engenders in the character and manner of our times a ‘vain, luxurious, and selfish EFFEMINACY’. 57 And in a revealing passage, he politicizes the chain of being to suggest how corruption in high places leads to the dismantling of political order in the same way as ambition threatens the natural order: Thus the great chain

in The other empire
Open Access (free)
John Marriott

arrival; although I must acknowledge, that they were so far from being terrible in their appearance, that at first sight I believed them all to be women, from the effeminacy both of their persons and dress, the long white jemmers and turbands appear so truly feminine to strangers. But the almost stark-nakedness of the lowest class is still more disgusting. 48

in The other empire