Transatlantic intimacies: The homoerotic affect worlds of nineteenth-century print culture【翻译】

Acknowledgments
I would like to thank my brilliant and patient readers, Dr. John Staunton and Dr. Andrea
Kaston Tange. Thank you for your wonderful classes which gave rise to this project, and for
all of your feedback and encouragement along the way. This thesis would have been a much
poorer endeavor without you. I would also like to thank Dr. Heather Neff for nudging me in
the right direction, and Dr. Charles Cunningham for always pushing me toward a more
nuanced way of thinking and writing. I would also like to thank my fellow M.A. students.
You all contributed more to my academic growth than you will ever know. Last, thank you
Dr. Christine Neufeld for everything that you have done for me over the last two years. You
have truly gone above and beyond for me. The entire English Department at Eastern
Michigan University has been intellectually stimulating, kind, and supportive, and I did not
think it was possible to learn as much as I have within the last two years. I am incredibly
grateful that I had the opportunity to study under, and with, all of you. I would also like to
thank Nancy Brown, Amanda Larson, and Marci Singer for reading countless drafts of this
thesis. Your feedback has been an incredible asset during this process, and I am so lucky to
know such smart and generous women. And finally, I would like to thank Chelsea Bromley,
Susie DeWolf, and the staff at the Albert and Shirley Small Special Collections Library at the
University of Virginia for all of their help combing through their collection of Julia
Magruder's writings and personal effects.
iv
Abstract
The thesis argues that during the late-nineteenth century, an alternative means of same-sex
erotic communication was conceived of in transatlantically published American and British
künstlerroman novels written by female authors. This alternative discourse was
communicated affectively to initiated readers by way of metaphorical descriptions of
painting, music, accompanying illustrations, and photography, and these novels all
participate in the work of moving non-normative sexuality into the public sphere at the turn
of the century. Through readings of works by Kate Chopin, Julia Magruder, and Amy Levy,
the thesis explores the ways that these affective interactions were constructed, and the
manner in which they hailed implied readers into an intimate public with one another.
Ultimately, these novels offer a type of guide for members of the initiated intimate public
that functioned as a signpost on the path that led to queer performativity as a way of life in
the twentieth century.
v
Table of Contents
Dedication................................................................................................................................. ii
Acknowledgements.................................................................................................................. iii
Abstract .................................................................................................................................... iv
List of Figures .......................................................................................................................... vi
Introduction: Textual Intimacy at the Fin de Siècle...................................................................1
Chapter 1: "Ah! si tu savais!": The Queer Aesthetics of Edna Pontellier's Awakening..........14
Chapter 2: "Love Me In Full Being": Julia Magruder, Charles Dana Gibson, and Composing
the Compromising New Woman ............................................................................................35
Chapter 3: "You came at dusk to find me": The Shadow of Queer Longing in Amy Levy's
The Romance of a Shop ...........................................................................................................57
Conclusion ...............................................................................................................................79
Works Cited .............................................................................................................................84
vi
List of Figures
Figure Page
1 "The Gibson Girl"........................................................................................................48
2 "Struck a Chord and Began"........................................................................................51
3 "The beautiful young woman ... had stepped back from her easel"............................54
4 "It will be quite safe, I see"..........................................................................................55

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