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"Their Hearts Were Made Entirely One...

Coccia, Emily Rose.

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"Their Hearts Were Made Entirely One": Nineteenth-Century American Literary Depictions of Female Friendship and Same-Sex Intimacy.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Their Hearts Were Made Entirely One": Nineteenth-Century American Literary Depictions of Female Friendship and Same-Sex Intimacy./
Author:	Coccia, Emily Rose.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	135 p.
Notes:	Source: Masters Abstracts International, Volume: 56-04.
Contained By:	Masters Abstracts International56-04(E).
Subject:	American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10271879
ISBN:	9781369724066

"Their Hearts Were Made Entirely One": Nineteenth-Century American Literary Depictions of Female Friendship and Same-Sex Intimacy.
Coccia, Emily Rose.

"Their Hearts Were Made Entirely One": Nineteenth-Century American Literary Depictions of Female Friendship and Same-Sex Intimacy. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 135 p.

Source: Masters Abstracts International, Volume: 56-04.

Thesis (M.A.)--Georgetown University, 2017.

In this thesis, I analyze representations of women's intimate friendships in American literature from the first half of the nineteenth century, looking specifically at three primary works---Charles Brockden Brown's Ormond; or the Secret Witness (1799); the anonymously authored The Factory Girl (1854); and the poems and epistolary correspondence of Emily Dickinson to Susan Gilbert Dickinson from the 1850s. I argue for an understanding of the romantic friendships I analyze as being: 1) of primary importance to the women involved; 2) typically incompatible with heterofamilial life, especially marriage; 3) potentially sexual but almost always erotic; and 4) marked by an incipient sense of self-awareness. Within the primary texts, I trace what I identify as three recurring tropes---all-female homosocial spaces; the unspoken (and at times, unspeakable); and female-male-female (or even female-female-female) structures of desire---that expose moments of queer possibility and protolesbian identification. The roughly 60-year period I focus on in this thesis is a contested time in American lesbian history; although notable historians of women's romantic friendships have argued that these relationships were accepted by a society that viewed them as chaste and fully compatible with heterosexual marriage, more recent scholarship has suggested that even as early as the eighteenth century, a discourse of medical pathologization had begun to cast these relationships under scrutiny. I am particularly interested in moments of silence or ambiguity within the texts I analyze, for, as I argue, it is within these spaces that the possibility of same-sex eroticism emerges. This textual openness has allowed these works to circulate without scandal even as they issue an invitation to their readers, a moment of interpellation, in which those who might read into those silences and understand are brought into contact with the text in a process of queerly generative reading that reaches across the centuries-long temporal divide.

ISBN: 9781369724066Subjects--Topical Terms:

523234
American literature.

"Their Hearts Were Made Entirely One": Nineteenth-Century American Literary Depictions of Female Friendship and Same-Sex Intimacy.
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520 $a In this thesis, I analyze representations of women's intimate friendships in American literature from the first half of the nineteenth century, looking specifically at three primary works---Charles Brockden Brown's Ormond; or the Secret Witness (1799); the anonymously authored The Factory Girl (1854); and the poems and epistolary correspondence of Emily Dickinson to Susan Gilbert Dickinson from the 1850s. I argue for an understanding of the romantic friendships I analyze as being: 1) of primary importance to the women involved; 2) typically incompatible with heterofamilial life, especially marriage; 3) potentially sexual but almost always erotic; and 4) marked by an incipient sense of self-awareness. Within the primary texts, I trace what I identify as three recurring tropes---all-female homosocial spaces; the unspoken (and at times, unspeakable); and female-male-female (or even female-female-female) structures of desire---that expose moments of queer possibility and protolesbian identification. The roughly 60-year period I focus on in this thesis is a contested time in American lesbian history; although notable historians of women's romantic friendships have argued that these relationships were accepted by a society that viewed them as chaste and fully compatible with heterosexual marriage, more recent scholarship has suggested that even as early as the eighteenth century, a discourse of medical pathologization had begun to cast these relationships under scrutiny. I am particularly interested in moments of silence or ambiguity within the texts I analyze, for, as I argue, it is within these spaces that the possibility of same-sex eroticism emerges. This textual openness has allowed these works to circulate without scandal even as they issue an invitation to their readers, a moment of interpellation, in which those who might read into those silences and understand are brought into contact with the text in a process of queerly generative reading that reaches across the centuries-long temporal divide.
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