In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame (...) of reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame (...) of reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

This article examines a neglected ancient source for desire between women that nonetheless has a rich reception history in the context of female homoeroticism: the Callisto episode in Ovid’s Metamorphoses. The article argues that the relationship between Diana and her hunting companion Callisto can be read as homoerotic and that, unlike many ancient accounts of female-female eroticism, neither character is represented as a tribas (a gender-deviant “woman” with a masculinized body, who seeks to penetrate other women). The Callisto episode (...) is therefore an invaluable piece of evidence for ancient discourses on sexuality exceeding the bounds of the active/passive model. (shrink)

Augustine and female homoeroticism in the early Middle Ages: A Foucaultian idea-historical interpretation. Taking his reading of Romans 1:26–27 and Genesis 19 as its hermeneutical key, an idea-historical interpretation of the views of the Western church father Augustine of Hippo (354–430) on female homoeroticism is presented in this article. The accentuation of French philosopher Michel Foucault (1926–1984) on the overall significance of Augustine in the Western history of sexuality, in his posthumous Histoire de la sexualité 4 ( Les (...) aveux de la chair, under editorship of Frédéric Gros, 2018 ), is used to contextualise Augustine’s views on sexual desire as the ‘form of the will’, here positioned specifically within a female homoerotic context. Drawing on the substantial studies of John Boswell (in 1980) and Bernadette Brooten (in 1996), which, although relatively dated, are still without equal in Medieval research, the article subsequently explores Augustine’s views on intimate relations between women, both in monasteries and in secular society. It is shown that intimate relations between women must have transpired in fifth-century monasteries and that female homoeroticism was for the next two centuries dealt with with restraint rather than with forms of exclusion and punishment, despite the negative portrayals of same-sex relations by some of Augustine’s patristic contemporaries (particularly John Chrysostom [ca.347–407]), yet precisely on the basis of Augustine’s understated approach. Although Augustine renounced homoerotic relations as a form of ‘unnatural’ (for him, expressly, all ‘non-procreative’) sex, he dealt with the incidence of female same-sex relations with understatement. Given his general authority in the early Middle Ages, one effect of Augustine’s non-homophobic approach was that female homoeroticism was de facto bypassed as a ‘moral problem’ in the fifth and sixth centuries, until handbooks of penance, that prohibited all forms of same-sex relations, started circulating at the end of the sixth century. Contribution: This article contributes to the ongoing study of Medieval female sexuality, and particularly of female homoeroticism in late Antiquity and the early Middle Ages, by exploring Augustine’s views on same-sex relations between women around the early fifth century, while concurrently contributing to ongoing analyses of Michel Foucault’s interpretation of the church and desert fathers in the (edited) fourth volume of Histoire de la sexualité ( Les aveux de la chair ), published in 2018. (shrink)

Tommy J. Curry’s provocative book The Man-Not is a justification for Black Male Studies and won the 2018 American Book Award. He posits that we should conceptualize the Black male as a victim, oppressed by his sex. The Man-Not, therefore, is a corrective of sorts, offering a concept of Black males that could challenge the existing accounts of Black men and boys desiring the power of white men who oppress them that has been proliferated throughout academic research across disciplines. -/- (...) Curry argues that Black men struggle with death and suicide, as well as abuse and rape, and their genred existence deserves study and theorization. This book offers intellectual, historical, sociological, and psychological evidence that the analysis of patriarchy offered by mainstream feminism (including Black feminism) does not yet fully understand the role that homoeroticism, sexual violence, and vulnerability play in the deaths and lives of Black males. Curry challenges how we think of and perceive the conditions that actually affect all Black males. (shrink)

The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis follows how (...) such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today. (shrink)

This article presents a contextualisation of Belgian philosopher and historian of psychiatry and sexuality, Patrick Vandermeersch’s (1946–), unpublished analysis of French philosopher Michel Foucault’s (1926–1984) interpretation of Methodius of Olympus’ (d.ca.311) views on virginity and chastity, in Histoire de la sexualité 4 ( Les aveux de la chair ), published in February 2018 at Gallimard in Paris under the editorship of Frédéric Gros. The article contributes to the reception and the ongoing analyses of Les aveux de la chair by exploring (...) Foucault’s reading while highlighting both the importance of Vandermeersch’s analysis and the sexological-historiographical significance of his broader oeuvre that spans over four decades. Vandermeersch shows that Foucault, as many other commentators of Methodius, did not substantially engage Methodius’ explicit indebtedness and persistent references to Plato (already evident in the title Symposium but especially regarding the Phaedrus ). Platonic homoeroticism is, according to Vandermeersch, as a consequence often too hastily, and therefore problematically, transposed on contexts of female virginity. Likewise, Foucault, when indicating already at the end of Histoire de la sexualité 2 ( L’usage des plaisirs 1984), the particular relevance of homoeroticism in the development of Western sexuality, seemed to adhere to this transposition. Could ‘beautiful boys’ truly be transposed onto ‘female virgins’ without severe sexual-discursive complications? And could Methodius’ encomium of virginity in any way be understood independent of his understanding of the ‘resurrection of the body’, with the integrity of its (virginised) sexual desire intact? These are among Vandermeersch’s valid and challenging questions to both Foucault and his contemporary readership. Contribution: Foucault’s reading of the church- and desert fathers in Histoire de la sexualité 4 ( Les aveux de la chair ) impacts early Medieval philosophy, early Medieval history, church history, patristics, philosophy of religion, psychology of religion and sociology of religion. Since these proximate disciplines are drawn towards Foucault’s text, they may well note its ongoing examinations. Foucault’s direct impact on these disciplines is illustrated in Vandermeersch’s significant analysis of Foucault’s reading of Methodius in Les aveux de la chair. Vandermeersch’s broader oeuvre in philosophy, theology, psychiatry, psychology, psychology of religion and the history of sexuality is concurrently contextualised as of ongoing contemporary importance for these disciplines. (shrink)

Gathered here are 127 beautiful and provocative duotone photographs that reflect the wide-ranging history of male homoeroticism as revealed by the camera - amply suggesting spiritual, physical, and intellectual exchange between men.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Crossing Borders: Love between Women in Medieval French and Arabic LiteraturesCary Howie (bio)Sahar Amer, Crossing Borders: Love between Women in Medieval French and Arabic Literatures. Philadelphia: U of Pennsylvania P, 2008, xii + 254 pp.Sahar Amer’s Crossing Borders adds to the expanding bibliography on medieval sexualities by showing the resonances between certain female same-sex relationships in medieval French literature and analogous, though generally more explicit, relationships between women (...) in the medieval Arabic tradition. In the process, sexuality becomes a way of talking about the porous boundaries that constitute the field of Old French, and perhaps even Western, literature as such.Amer’s book couldn’t have arrived at a better time, as Sarkozy’s French government once again, in the name of French values, intervenes in the debates around religion and clothing in the public sphere, debates in which the old divides between France and its constitutive others—in this case, certain kinds of Islam and certain kinds of women— have once again come to the fore. By proposing that “medieval French writing is essentially a hybrid, cross-cultural project” (163), Amer contributes not just to the emerging sense of the Middle Ages’ postcoloniality (as articulated by Jeffrey Jerome Cohen and Sharon Kinoshita, among others) but also to the work being done by intellectual historians and cultural theorists such as Joan Scott and Diane Rubenstein on the fantastic investments that take place within and around French universalism (which could be said to inform the idea of the literary no less than the idea of the citizen).Crossing Borders begins with the notion of borders as “fluid spaces of cultural exchange, adaptation, and collaboration” (ix), and it is the emphasis on a more general sense of cultural exchange, more than the fact of borders per se, that will permeate the chapters that follow. (In fact, the border, like “the lesbian,” Amer’s polemical term of choice for the women she describes, may be important for her argument precisely insofar as it resists visibility, as it remains to some extent difficult to locate.) Amer’s reading of Old French texts, in dialogue with a handful of medieval Arabic narratives and erotic compilations, proceeds from an understanding of medieval culture in which there is “a continuity rather than a rupture between medieval and modern conceptions of alternative [End Page 156] sexualities” (9), and in which it is possible to argue for influences that are tough, if not impossible, to trace empirically. According to this logic, ideas and stories may have circulated “next to” more tangible material goods taken to and from the Arab Islamicate world (13), and French authors may have “culled some elements from Arabic material and wove[n] them into a literary fabric to suit their audience’s sensibilities” (163). This attentiveness to what “may have” happened (e.g., 44, 110) is one of the signature gestures of Amer’s critical poetics, which I am tempted to describe as an imaginative historicism, committed at once to the explanatory power of historical context and to what Amer will repeatedly call the “imagination of the audience” (e.g., 79).After an initial chapter outlining this “cross-cultural” poetics of contextualization and imaginative investment, chapter 2, “Crossing Linguistic Borders,” is dedicated to seven stanzas of a late twelfth-century poem, Étienne de Fougères’s Livre des manières, in which a long description is given of women who go “against Nature” by “join[ing] shield to shield without a lance” (32). Amer reads these military metaphors for female homoeroticism in light of Arabic sources including, for example, al-Jurjani’s eleventh-century Anthology of Metonymic Devices, in which one of the cited commonplaces observes, “They [lesbians] manifest a war in which there is no spear-thrusting” (36). Most provocatively, Amer argues for the Arabic provenance of two otherwise untranslatable words in Étienne’s text, “trutennes,” which she traces to an Arabic root meaning “the mons of the beloved” (40), and “eu,” which she interprets as an orgasmic onomatopoeia. From mons to moans, the “medieval French literary lesbian” is a condensation of forms and fantasies—and noises—that come from before and beyond medieval France. In fact, the... (shrink)

Gay Ethics is an anthology that addresses ethical questions involving key moral issues of today--sexual morality, outing, gay and lesbian marriages, military service, anti-discrimination laws, affirmative action policies, the moral significance of sexual orientation research, and the legacy of homophobia in health care. It focuses on these issues within the social context of the lives of gay men and lesbians and makes evident the ways in which ethics can and should be reclaimed to pursue the moral good for gay men (...) and lesbians. Gay Ethics is a timely book that illustrates the inadequacies of various moral arguments used in regard to homosexuality. This book reaches a new awareness for the standing and treatment of gay men and lesbians in society by moving beyond conventional philosophical analyses that focus exclusively on the morality of specific kinds of sexual acts, the nature of perversion, or the cogency of scientific accounts of the origins of homoeroticism. It raises pertinent questions about the meaning of sexuality for private and public life, civics, and science.Some of the issues covered: Sexual Morality Outing Same-Sex Marriage Military Service Anti-Discrimination Laws Affirmative Action Policy The Scientific Study of Sexual Orientation Bias in Psychoanalysis Homophobia in Health Care Gay Ethics presents a wide range of perspectives but remains united in the common purpose of illuminating moral arguments and social policies as they involve homosexuality. The chapters challenge social oppression in the military, civil rights, and the social conventions observed among gay men and lesbians themselves. This book is applicable to a broad range of academics working in gay and lesbian studies and because of its current content, is of interest to an educated lay public. It will be a standard reference point for future discussion of the matters it addresses. (shrink)

This research examines the nature of gender presentation of men who were the stars on Disney Channel shows. Research has already examined how young women who were Disney stars become quickly sexualised and perceived as women under the male gaze. However, there is little corresponding research on boys who are subject to the scrutiny of the public. I engage in a phenomenological content analysis of the social media of three adult male actors who starred on the show Wizards of Waverly (...) Place. The nature of masculine gender capital encourages these men to move towards a masculine ideal while recognising they are under the erotic gaze. These men push to be severed from their youth identities, forming a strategic boundary that nods to the homoeroticism surrounding their identity. (shrink)

In the present article, I look into the culture-building power of Eros from Schiller’s ideas of “the aesthetic state of mind” in Letters on the Aesthetic Education of Man, through the Pre-Raphaelites’ eroticism to the nineteenthcentury fin de siècle aestheticized homoeroticism and beyond. I argue that eroticism is a reaction to the increasing sense of alienation brought about by bourgeois modernity. The “moments” and texts used to illustrate the thesis that eroticism shaped an alternative order are far from exhausting (...) a very large list which could add nuances to the argument. The body is one of the essential aspects tackled, since eroticism cannot be conceived in its absence. The body may be an object of desire around which imagination weaves its yarn, or a blank page to be inscribed, or a danger zone, or a hypertrophied space projected by the lover’s longing for fusion. Eroticism in Salman Rushdie’s novels is the focus of my approach after a survey of some landmarks of erotic imagination. I argue that his novels are a new stage of the imagination infused by Eros. The article probes into how two centuries of aesthetic modernity have been shaped by the reality principle proposed by Schiller and how that essentially erotic model has suffered changes in time. (shrink)

This text gives a critical account of various, often conflicting interpretations of slash fiction - stories based on characters from popular TV show, The Star Trek, written by fans. What makes slash fiction, a subgenre of fan fiction, specific is a homoeroticization of characters that in the original narratives are either explicitly or implicitly heterosexual. Whether such?homoerotic pairing? has any foundation in the original Star Trek narrative, remains an open question. Answers to this question vary greatly. An affirmative answer, however, (...) begs a further question: whether these narratives are?homosexual representations? in a strict gay/lesbian sense? The authors propose that slash represents a non-hegemonic narrative which transgresses borders set up in the original narrative - queering, reexamining thus both sex and gender. (shrink)

This text gives a critical account of various, often conflicting interpretations of slash fiction - stories based on characters from popular TV show, The Star Trek, written by fans. What makes slash fiction, a subgenre of fan fiction, specific is a homoeroticization of characters that in the original narratives are either explicitly or implicitly heterosexual. Whether such?homoerotic pairing? has any foundation in the original Star Trek narrative, remains an open question. Answers to this question vary greatly. An affirmative answer, however, (...) begs a further question: whether these narratives are?homosexual representations? in a strict gay/lesbian sense? The authors propose that slash represents a non-hegemonic narrative which transgresses borders set up in the original narrative - queering, reexamining thus both sex and gender. (shrink)

In this paper, I seek to examine three ancient literary couples to discover the nature of their relationships. Specifically, I will argue that Enkidu and Gilgamesh, David and Jonathan, and Achilles and Patroclus each participated in a relationship that went beyond the trope of heroic friendship. I will also examine how previous scholars portrayed these men in an attempt to remove homoeroticism from their mythologies.

Harem : ce que les femmes recluses font entre elles. Cet article tente d’éclairer le moment où, dans la perception de l’Orient musulman par les observateurs européens, s’instaure un lien d’évidence entre réclusion des femmes et homoérotisme féminin. Cette vision du harem générant par nature des pratiques homosexuelles va à l’encontre de la littérature islamique médiévale sur la question, dans laquelle le tribadisme ne peut résulter que d’une corruption externe à la clôture vertueuse de l’espace domestique. Les observateurs européens de (...) l’âge moderne transposent dans l’espace privé du harem l’homoérotisme (masculin) qu’ils observent dans l’espace public. Les femmes seraient induites à différentes formes de transgression sexuelle et de genre et le modèle du harem, assimilé à un couvent dévoyé, peut figurer en soi une forme d’imposture absolue. Cette analyse d’une séparation pathologique des hommes et des femmes, induisant des pratiques sexuelles elles-mêmes « pathologiques », a longtemps imprégné en retour le monde islamique et ses sciences sociales ; elle ne s’est vue remise en cause que tout récemment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Awesome Nightfall: The Life, Times, and Poetry of SaigyōMichiko YusaAwesome Nightfall: The Life, Times, and Poetry of Saigyō. By William R. LaFleur. Boston: Wisdom Publications, 2003. Pp. ix + 173. Paper $14.95.A quarter of a century ago William LaFleur published his book on Saigyō, Mirror for the Moon, which the present work, Awesome Nightfall: The Life, Times, and Poetry of Saigyō, thoughtfully and masterfully supersedes. In this connection (...) I may mention the philosopher, Nishida Kitarō, whose Zen no kenkyū (An inquiry into the good) was reprinted in 1936, twenty-five years after its first publication. On that occasion Nishida, deeply moved by the thought that his earliest work was still being read, expressed his sentiment by quoting the last two lines of one of Saigyō's poems: [End Page 270]Toshitaketemata koyubeshitoomoikiyaInochi narikeriSaya no NakayamaDid I ever imagineIn my advanced ageI should cross once againThis mountain pass of Saya-no-Nakayama?Ah, it is all thanks to having lived a long life!1(Saigyō composed this poem on going for the second time to Mutsu, the northern region of Japan, forty-two years after his first visit there.)As LaFleur notes, a number of important works on Saigyō's life and his times have been published in Japan in the last two decades, which these offer us more complete sketches of his life and allow an appreciation of his poetry to a greater depth. In the first part of the book, "The Life and Times of Saigyō," the author succinctly incorporates many of these findings and relates Saigyō's poems both to historical events and to his personal life experience (pp. 1-70). The second half of the book contains LaFleur's translation of over 150 poems by Saigyō, all of which appear to be taken from his earlier book (pp. 73-152).LaFleur shows how Saigyō's life (1118-1190) was closely linked to the historical context. The time was fast changing from the insei system (political administration run by the court of the retired emperor) to the Hōgen and Heiji Disturbances, the fierce power struggle between the Taira and the Minamoto military clans, with the dramatic demise of the former and the end of the Heian period. Saigyō's path crossed with such eminent political figures as Taira no Kiyomori in 1172 and Minamoto no Yoritomo in 1186. By juxtaposing historical events with Saigyō's poems, which often bear headnotes describing the circumstances under which he composed them, a full-fledged biography of Saigyō promises to be in the offing.In the present work, LaFleur sketches Saigyō's life in bold strokes and introduces new findings for the English-reading audience, such as the homoeroticism that dominated the court of the retired Emperor Toba (1103-1156)—although Saigyō himself does not appear to have been a member of this coterie.2 LaFleur also draws our attention to the fact that Saigyō practiced religious austerities at Mt. Kōya and Ōmine (pp. 20-21). Going beyond a rather two-dimensional image of Saigyō as a nature-loving poet of the moon and the flowers, the present study presents a picture of a man caught in an impossible love affair; a highly skilled equestrian, archer, and kemari (a sort of kickball) player; and a man who caused a sensation by renouncing the world at the young age of twenty-three despite his promising career as an imperial guard. Saigyō's mental and physical strength, honed by his mountain asceticism, no doubt was essential in his making extensive journeys far and wide. We also see that the distance Saigyō created from the political arena by becoming a monk gave him a keener eye to assess the fundamental political changes that were then taking [End Page 271] place. The full import of his poems, dealing with warfare, emperors, and the court, cannot be understood when separated from the political events of the day, although Saigyō himself maintained his cool objectivity and distanced himself from them.The tantalizing speculation that Saigyō was infatuated with Empress Taikenmon'in, Emperor Toba's consort and Emperor Sutoku's mother, is highly probable... (shrink)