"By the dawn of the twentieth century Budapest was on its way to becoming a cosmopolitan metropolis. The 'Pearl of the Danube' boasted some of Europe's most beguiling architectural achievements, and its growing middle class was committed to advancing the city's liberal politics, fostering its centrality as an intellectual and commercial crossroads between East and West. As historian Anita Kurimay reveals, fin-de-siècle Budapest was also famous for its boisterous public sexual culture-including a robust homosexual subculture. Queer Budapest, 1873-1961 is her riveting story of non-normative sexualities in Hungary as they were understood, experienced, and policed between the birth of the its capital as a unified metropolis in 1873 and the decriminalization of male homosexual acts in 1961. A stunning reappraisal of sexuality between East and West, Queer Budapest, 1873-1961 demolishes myths identifying queer life with the failures of late-twentieth-century liberalism and instead recuperates queer sociality as an integral part of Budapest's-and Hungary's-modern incarnation"--

With all the heated debates around religion and homosexuality today, it might be hard to see the two as anything but antagonistic. But in this book, Dominic Janes reveals the opposite: Catholic forms of Christianity, he explains, played a key role in the evolution of the culture and visual expression of homosexuality and male same-sex desire in the nineteenth and twentieth centuries. He explores this relationship through the idea of queer martyrdom—closeted queer servitude to Christ—a concept that allowed a certain degree of latitude for the development of same-sex desire. Janes finds the beginnings of queer martyrdom in the nineteenth-century Church of England and the controversies over Cardinal John Henry Newman’s sexuality. He then considers how liturgical expression of queer desire in the Victorian Eucharist provided inspiration for artists looking to communicate their own feelings of sexual deviance. After looking at Victorian monasteries as queer families, he analyzes how the Biblical story of David and Jonathan could be used to create forms of same-sex partnerships. Finally, he delves into how artists and writers employed ecclesiastical material culture to further queer self-expression, concluding with studies of Oscar Wilde and Derek Jarman that illustrate both the limitations and ongoing significance of Christianity as an inspiration for expressions of homoerotic desire. Providing historical context to help us reevaluate the current furor over homosexuality in the Church, this fascinating book brings to light the myriad ways that modern churches and openly gay men and women can learn from the wealth of each other’s cultural and spiritual experience.

Maybe we've had enough of studies of gay men and urban centers, tracing out the similarities from one place to the next. Japonica Brown-Saracino bucks the trend, giving us the first in-depth study of lesbians (and bisexual/queer women more generally), showing how four contrasting communal cultures have shaped their identity. Individual lesbian residents shape the culture of sexual identity they embrace, based at the same time on the prevailing culture in the city they inhabit. And the consequence is that the same woman will develop a different version of lesbian identity depending on which of the four cities she moves into. Those cities are: Ithaca, New York; San Luis Obispo, California; Greenfield, Massachusetts; and Portland, Maine. She identifies them in the book (a rare move for ethnographers), thus insuring a coast-to-coast readership, with lots of debate. This book advances, in almost equal measure, sexuality and gender studies, theories of identity, theories of place, and urban sociology. Each city has its own loose bundles or connections between residents, whether it's the taste-based ties in Ithaca, or the ties in San Luis Obispo that cut across demographics, or the conversations about identity that prevail in Portland, or the emphasis Greenfield on other dimensions of the self (e.g., profession, politics, or life stage, such as motherhood). Along the way, Brown-Saracino poses a set of questions from urban sociology about migration, residential choice, and community change processes that students of cities rarely apply to sexual minority populations.

In this book, the author combines a vast array of scholarship on supposedly discrete episodes in American history into a story of same-sex desire across the country and the centuries.

The first full-length study of same-sex love in any period of Russian or Soviet history, Homosexual Desire in Revolutionary Russia investigates the private worlds of sexual dissidents during the pivotal decades before and after the 1917 Bolshevik Revolution. Using records and archives available to researchers only since the fall of Communism, Dan Healey revisits the rich homosexual subcultures of St. Petersburg and Moscow, illustrating the ambiguous attitude of the late Tsarist regime and revolutionary rulers toward gay men and lesbians. Homosexual Desire in Revolutionary Russia reveals a world of ordinary Russians who lived extraordinary lives and records the voices of a long-silenced minority.

In 1861, the death penalty was abolished for sodomy in Britain; just over a century later, in 1967, homosexuality was finally decriminalised. Between these legal landmarks lies a century of seismic shifts in gender and sexuality for men and women. These found expression across the arts as British artists, collectors and consumers explored transgressive identities, experiences and desires. Some of these works were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works showcase the rich diversity of queer British art. This publication, the first to focus exclusively on British queer art, will feature sections on ambivalent sexualities and gender experimentation amongst the Pre-Raphaelites; the new science of sexology's impact on portraiture; queer domesticities in Bloomsbury and beyond; eroticism in the artist's studio and relationships between artists and models; gender play and sexuality in British surrealism; and love and lust in sixties Soho. 00Exhibition: Tate Britain, London, United Kingdom (05.04.2017-01.10.2017).