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Tuğçe Kayaal

on this incident at the House of Orphans in Konya, this article explores the condemnation of male homoerotic cross-generational sexual practices against the backdrop of the institutionalization of heterosexual sex and the cultivation of “ideal

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Jay Mechling

. This ethnographic evidence of real boys in their natural settings is what I bring to my pursuit of the importance of homoeroticism in the bonding in a male adolescent friendship group. Connecting that erotic dimension of male bonding to the development

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'It is impossible to be gentler'

The Homoerotics of Male Nursing in Dickens's Fiction

Holly Furneaux

Eve Sedgwick's Between Men: English Literature and Male Homosocial Desire (1985) has had a hugely enabling impact on gay, lesbian and queer studies, and its two chapters on Dickens do the initially useful work of recognising the existence of alternative sexualities within his work. Yet, Sedgwick insists that Dickens always offers such representations from an inherently homophobic perspective. Though recognising a debt to Sedgwick, this article is strongly committed to demonstrating the fallacy of her influential paradigm that the homoerotic emerges most strongly in Dickens's work through violence. Sedgwickian readings privilege the cultural currency of sexual violence, built up through contemporary modes such as flagellatory pornography. However, other, gentler ways of touching also had highly erotic connotations during the period of Dickens's career. This paper focuses on the Victorian sexualisation of nursing, arguing that Dickens deploys the eroticising of nurse/patient roles in Martin Chuzzlewit and Great Expectations to develop more affirmative, tender strategies for articulating desire between men.

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"The Dangerous Book Four Boys"

James Franco's Psychosexual Artistic Explorations of Boyhood

Dinah Holtzman

In 2010, James Franco debuted his exhibition “The Dangerous Book Four Boys” at the Clocktower Gallery. He appropriated his title from the Igguldens’ guidebook The Dangerous Book for Boys (2006). This paper explores Franco’s representation of boyhood, focusing on his anxiety over traditional gender roles. Dangerous depicts boyhood as a homosocial and homoerotic realm in which women are both envied and elided. Franco’s vision of boyhood is premised upon a longing for both domestic structures and practices. The exhibit is organized around several small rough-hewn wooden structures resembling small houses. Inside the constructions, the films Destroy House and Castle depict young men destroying identical domiciles with axes, shotguns and blowtorches. Ironically, these violent depictions are safely contained within intact replicas of the very structures being destroyed in the films. These constructions are emblematic of Franco’s fraught relationship to masculinity, stereotypical gender roles and domesticity.

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

we consider the various modes of resistance that qualify the main character’s voyage toward self-discovery in each work. Moreover, given that questions of homoerotic tourism inform the imaginaries of both filmmakers, we must consider the implications

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Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

/Latino Homoerotic Writing . In recent years, he had turned his attention to photography and produced several monographs on the subject: Picturing the Barrio: Ten Chicano Photographers ; Argentine, Mexican, and Guatemalan Photography: Feminist, Queer, and Post

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Diederik F. Janssen

Erotics of Adolescent Male Altruism,” finally, Professor Emeritus of American Studies Jay Mechling draws from his three generations of experience in Boy Scouting in considering that scene’s homoerotics of male adolescent bonding, altruism, and (gender

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Queering Virginity

From Unruly Girls to Effeminate Boys

Eftihia Mihelakis

can explore “the themes of male sexuality, homoeroticism, and religious mystery” by reconsidering the importance of being unsettled by our complex and contradictory histories that encompass the clear distinction between “the sacred and the profane

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Pity Silenced

Economies of Mercy in The Merchant of Venice

Alessandra Marzola

death’ (IV. i. 116–17), Bassanio’s self-sacrificing bid casts the looming shadow of a Christ-like figure, whose blood is not shed in redemption of mankind, but wasted instead on homoerotic love. 10 Portia’s turnaround to moneyed mercy, and to the

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Rachel Adler

Hebrew poet writes such homoerotic love poetry, this is merely a literary convention. 8 Ramer imagines a Sefarad in which erotic diversity exists in fact. In a very different way, the uncovering of gender diversity is what academic researchers like