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Looking like a lesbian: The sexual ...

Latimer, Tirza True.

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Looking like a lesbian: The sexual politics of portraiture in Paris between the wars (France, Romaine Brooks, Claude Cahun, Suzy Solidor).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Looking like a lesbian: The sexual politics of portraiture in Paris between the wars (France, Romaine Brooks, Claude Cahun, Suzy Solidor)./
作者:	Latimer, Tirza True.
面頁冊數:	181 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0696.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3085320

Looking like a lesbian: The sexual politics of portraiture in Paris between the wars (France, Romaine Brooks, Claude Cahun, Suzy Solidor).
Latimer, Tirza True.

Looking like a lesbian: The sexual politics of portraiture in Paris between the wars (France, Romaine Brooks, Claude Cahun, Suzy Solidor). - 181 p.

Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0696.

Thesis (Ph.D.)--Stanford University, 2003.

For many women artists of the last century, opting out of the heterosexual contract—and, with it, received ideas about what it meant to be a woman—was a fundamental condition of artistic identity and professional achievement. The artists I investigate here, all active on Paris's cultural scene between the world wars, believed that they could succeed—not despite—but <italic> because</italic> of their lesbianism. In their portraiture and self-promotional initiatives, they represented lesbianism (then a new category of social subjectivity) in ways that would make this hypothesis tenable. If feminine stereotypes stigmatized women of the 1920s and 30s as intellectually limited, morally and physically weak, capricious, and derivative, characterizations of lesbians (even by detractors) often emphasized the exceptional intellectual prowess, independence, strength, reliability, creativity, and qualities of leadership that characterized this “new breed.”

Looking like a lesbian: The sexual politics of portraiture in Paris between the wars (France, Romaine Brooks, Claude Cahun, Suzy Solidor).
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100 1 $a Latimer, Tirza True. $3 854243
245 1 0 $a Looking like a lesbian: The sexual politics of portraiture in Paris between the wars (France, Romaine Brooks, Claude Cahun, Suzy Solidor).
300 $a 181 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0696.
500 $a Adviser: Wanda M. Corn.
502 $a Thesis (Ph.D.)--Stanford University, 2003.
520 $a For many women artists of the last century, opting out of the heterosexual contract—and, with it, received ideas about what it meant to be a woman—was a fundamental condition of artistic identity and professional achievement. The artists I investigate here, all active on Paris's cultural scene between the world wars, believed that they could succeed—not despite—but <italic> because</italic> of their lesbianism. In their portraiture and self-promotional initiatives, they represented lesbianism (then a new category of social subjectivity) in ways that would make this hypothesis tenable. If feminine stereotypes stigmatized women of the 1920s and 30s as intellectually limited, morally and physically weak, capricious, and derivative, characterizations of lesbians (even by detractors) often emphasized the exceptional intellectual prowess, independence, strength, reliability, creativity, and qualities of leadership that characterized this “new breed.”
520 $a In the 1920s, portraiture became an important locus of self-determination for women whose ability to participate in scientific, juridical, or political debates concerning their status and/or their “nature” was limited. The portrait initiatives of lesbian artists who earned acclaim in the Paris art world at its apogee provide the focus of this dissertation. In Chapter One, I consider the image of lesbianism produced in the atelier of Romaine Brooks, a wealthy American expatriate portrait painter and member of Paris's lesbian salon-society. In Chapter Two, I re-evaluate the work of Claude Cahun in light of the fact that her partner Marcel Moore collaborated in the production of a photographic oeuvre that commonly passes as “self-portraiture;” I explore the cultural, political, and sexual-political implications of this lesbian partnership. Finally, in Chapter Three, I introduce Suzy Solidor, an <italic>ingénue libertine</italic> from the provinces who achieved notoriety in Parisian society by decorating her cabaret (a lesbian watering hole) with hundreds of portrait likenesses signed by an array of 1930s art-world celebrities. By asking where and how each of these artists chose to represent herself within the symbolic framework available to her, I explore the ways in which a generation of women-loving women participated in the formation (and/or deformation) of modern categories of feminine, sexual, and artistic identity
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3085320