The Construction of Gender and Sexuality through Various Discourses on Female Homosexuality in Modern Britain

这项研究项目旨在考察现代英国性别的构建方式，以及与当时的性观念，特别是女性同性恋的关系。更具体地说，这项研究通过各种关于古希腊女诗人萨福和奥维迪亚人萨福的话语，关于女性家庭性的话语，以及被称为萨福的英国女诗人的诗歌话语来调查。迄今为止，人们一直认为，性和同性恋的概念直到19世纪末才在欧洲出现。然而，目前的研究确定，术语“萨菲主义”和“萨菲斯特”在18世纪末的英国曾被使用过，类似于它们在现代的使用，从萨福到现在的女同性恋传统已经被讽刺地注意到了。另一方面，两个女人之间的依恋，无论多么强烈，往往被誉为无性的“浪漫友谊”。第一章分析了共同生活了50多年的《朗格伦的女人》中关于女性家庭性(浪漫友谊和智慧主义)的相互冲突的话语，揭示了新性别的兴起与浪漫主义时期女性性性观变化的特殊关系。第二章论证了安娜·西沃德是一位继承了莱斯博斯的萨福传统的诗人，她的爱情诗就像萨福的诗歌一样，是由对逝去的女性至爱以及对失去的时间和失去的快乐的狂热的渴望和向往而创作的。第三章重点介绍了苏厄德的小说《路易莎》，分析了这部小说是如何将自己呈现为一个异性恋故事，同时将女主人公浪漫的女性友谊置于她的异性恋情和婚姻之上。这部诗意的小说也说明了18世纪末女同性恋主义的一个方面，这与异性恋社会是相容的。

This research project aimed to examine the ways in which gender was constructed in modern Britain, in relation to the idea of sexuality of the time, female homosexuality in particular. More specifically, this research investigates through various discourses about the Ancient Greek woman poet Sappho and the Ovidian Sappho, discourses on female homesexuality, and the poetic discourses of British women poets called "Sappho."It has been hitherto argued that the concepts of sexuality and homosexuality had not appeared until late nineteenth century in Europe. The current research, however, ascertained that the terms ‘Sapphism' and ‘Sapphist' had been used in late eighteenth-century Britain similar to their use in modern times, and the lesbian tradition from Sappho to the present had been sarcastically noted. On the other hand, the attachments between two women, however intense, were often rather celebrated as asexual "romantic friendship." Chapter one of the research results analyzes the conflicting discourses of female homesexuality (‘romantic friendship' and ‘Sapphism') concerning the Ladies of Llangollen, who lived together for over fifty years, bringing to light the particular relation of the rise of new gender to the changed view of female sexuality in the Romantic period. Chapter two verifies that Anna Seward, posthumously called "the British Sappho," was a poet in the tradition of Sappho of Lesbos, as her love poetry was, like Sappho's poetry, created by a fervent longing and yearning for the absent female beloved, as well as lost time and lost pleasure. Chapter three highlights Seward's Louisa and examines the ways in which it seemingly presents itself as a heterosexual love story, while setting the heroine's romantic female friendship above her heterosexual romantic love and marriage. This poetic novel also illustrates an aspect of late eighteenth-century lesbianism which was compatible with heterosexual society.