Prudery and Perversion: Domination of the Sexual Body in Middle-Class Men, Women, and Disenfranchised Bodies in Victorian England

This research argues that with the rise of the middle-class, Victorian England saw the development of a power model in which middle-class men, middle-class women and disenfranchised bodies of children and lower-class women suffered from the demands of bodily domination. Because the bodily health of middle-class men was believed to represent national health, it was imperative that he dominate his body, particularly with regard to sexual urges. Consequently, the bodies of women with whom he sought sexual release suffered from forms of bodily domination as well. Through an analysis of journals and private writings of those living in Victorian England, magazines, books, and advisory texts published during the nineteenth century, and philosophical interpretations of Victorian sexuality by historians, an image emerges in which Victorian sexuality is categorized by the need to dominate the body

An Exploration of Female Sexuality, Class Status, and Art in Hardy’s Short Stories

In this paper, I examine Hardy’s treatment of female sexuality as mediated by art in two short stories: “The Fiddler of the Reels” and “An Imaginative Woman.” Given Hardy’s role as an artist, his noted compassion for women, and his interest in Victorian attitudes toward sexuality, my analysis of these topics in his short stories is particularly relevant. Hardy’s investment in class issues is also pertinent, as I consider how Hardy uses his heroines’ relationships with art to underline the distinct disadvantages of lower-class women. While Ella, the middle-class heroine of “An Imaginative Woman,” uses poetry to channel stagnant sensual energies as a relatively empowered subject, music objectifies and overpowers the lower-class Car’line of “The Fiddler of the Reels.” In my analysis, I compare Ella and Car’line’s interactions with art, noting art’s potential to serve as an emotional outlet, a source of pleasure, or an overwhelming and dangerous force. I argue that middle-class women possess a clear advantage: their access to Victorian discourses that acknowledge female sexuality and their encouragement to engage the creative arts as active agents afford them a level of power. Ella thus uses art as a tool to express her desires and to obtain a degree of sexual satisfaction. On the contrary, the rural, working-class Car’line is completely vulnerable to Wat’s fiddle, and its power ultimately causes her emotional and physical deterioration. In my comparison of female sexuality and artistic expression in “The Fiddler of the Reels” and “An Imaginative Woman, I elucidate Hardy’s efforts to reveal the distinct disadvantages of lower-class women in Victorian society

Contesting Victorian Beliefs: The Unintended Effects of Victorian Novels

Victorian society reproduced polarized gender roles known as the ideology of the separate spheres in order to confine the authority of women. However, as the Victorian Era progressed social norms were gradually contested, and the consequences of the assertion of female authority led to reform. In reinterpreting the Victorian women’s movement, I will interpret the effects of the writers of the late nineteenth century who argued explicitly against proposed changes in the traditional position of middle-class women. I will most closely examine how the late Victorian novels, A Marriage Below Zero by Alan Dale and The Revolt of Man by Walter Besant end up subverting their own anti-feminist agendas and actually contributing to the political project of late-Victorian feminism by inadvertently demonstrating that the separate spheres of Victorian society were imbalanced and limiting

Art for Art’s Sake: Art as Sexual Disease in the Trials of Oscar Wilde

Oscar Wilde, the celebrated author of The Picture of Dorian Gray and The Importance of Being Earnest, appears to be most famous for his productions at the Old Bailey in 1895. After a disastrous libel trial, Wilde suffered public humiliation as he was arrested for “gross indecency” on charges of being a sodomite. While for a Wilde biographer this is important in and of itself, I will argue that the historical moment of Wilde’s trials also lent themselves to the flourishing of the newly formed model of sexuality. In the 19th century, science had abandoned the previous idea that sexual desire was linked to the body and was now shifting towards a mental locus of sexual desire, or sexuality. Wilde embodied this rift between body and sexuality with his burly body and dandy persona. While ideas of sexuality shaped the outcome of Wilde’s own trial, the publicity of his trial also sent tidal waves out into the world authenticating and spreading sexuality in Victorian minds

Late Victorian Sexuality and Spiritualism: The Place of the Paranormal in Queer Erotic Partnerships

This dissertation argues that fin de siecle navigations of emerging categories of sexual identity were partially expressed in literary representations of supernatural connections, transformations, events, and practices. I build on Sexuality Studies and Queer Theory foundations by such scholars as Foucault, Halberstam, and Warner along with New Historicist scholarship about spiritualism in the nineteenth century to examine the connections between aberrant erotic desires and alternative forms of spirituality. Through readings of the anonymous Teleny (1893), Wilde\u27s The Picture of Dorian Gray, Richard Marsh\u27s The Beetle , and the poetry of Michael Field, I assert that queer sexual identities and acts, unspeakable, unfixed, and nebulous in the late Victorian years, were supported, represented, and navigated in these works through the use of spiritualism of various kinds. I conclude my project by examining how the Neo-Victorian Showtime series Penny Dreadful (2014-2016) reshapes Victorian practices into a new resource for the modern LGBTQ+ community, demonstrating the continuing importance of spiritualism and sexual desire in non-traditional identity and relationship building