6) From this perspective, Venus potentially inspires several forms of queer desire, including homoerotic desire in some female readers and queer heteroerotic
desire in female and male readers alike.
While Gardner notes that Plume and Kite imply "a latent homosexuality in the military" (2001, 50), Plume exhibits neither heteroerotic
nor homoerotic desires.
50) Ben Saunders suggests that we might see a similar articulation of heteroerotic
desire in female-female terms in "Sapho to Philaenis": "Donne does not seem to imagine and inscribe female-female desire in terms of his own marriage so much as he attempts to reimagine and reinscribe his marriage in terms of female-female desire.
Like few other Impressionists, Caillebotte was sensitive to the many strange encounters the modern world made possible, encounters cutting across class lines and the conventions of heteroerotic
So, while Melia (and today's audiences) may doubt the genuineness of Zephyrus's feelings for her, the Salzburg audience of 1767 would have seen it as underscoring the societal view that all men could easily change from homoerotic to heteroerotic
Gray shows that both the history of illustrations and modern criticism "tend automatically to describe any sensual element in the poem as heteroerotic
," even though "in the poem's most sensuous moments when the speaker begins to picture actual erotic contact, the figures involved are once again all implicitly male" (pp.
While acknowledging these heteroerotic
endeavors, Margaret Forster paints a queer picture of the Bonnie Prince, affirming that "Charles' attitude to marriage had always been unconventional in that he never seemed to find it inevitable.
If "Endymion" is a meditation on the nature of beauty and heteroerotic
desire, Bashir's "The Radiation of Whiteness," then, queers Keats's Western (read white) and heterocentric notions of beauty and love.
The disfigurement and distortion of the female body undermine the objectifying heteroerotic
gaze, and thus the work protests the conventional, regimented, and domesticated image of feminine beauty.
acts would of course also fall in this category.
While this passage has been read for what it suggests about homo- and heteroerotic
desire and object choice, what hasn't been remarked is how useful such emotive lability is as part of an actor's arsenal.
However, this paper is not concerned with the difference between the young man and the dark lady sonnets, nor does it want to explain this difference in terms of homo- and heteroerotic