ellauri152.html on line 79: To lend authenticity to the forgery, Louÿs in the index listed some poems as "untranslated"; he even craftily fabricated an entire section of his book called "The Life of Bilitis", crediting a certain fictional archaeologist Herr G. Heim ("Mr. C. Cret" in German) as the discoverer of Bilitis' tomb. And though Louÿs displayed great knowledge of Ancient Greek culture, ranging from children's games in "Tortie Tortue" to application of scents in "Perfumes", the literary fraud was eventually exposed. This did little, however, to taint their literary value in readers' eyes, and Louÿs' open and sympathetic celebration of lesbian sexuality earned him sensation and historic significance.
ellauri152.html on line 90: In 1955 the Daughters of Bilitis was founded in San Francisco as the first lesbian civil and political rights organization in the United States. In regard to its name, Del Martin and Phyllis Lyon, two of the group's founders, said "If anyone asked us, we could always say we belong to a poetry club." Mehän voidaan sanoa. Had they only known that it was all about fornicating boys.
ellauri163.html on line 48: He wrote the drama Got fun nekome (God of Vengeance) in the winter of 1906 in Cologne, Germany. It is about a Jewish brothel owner who attempts to become respectable by commissioning a Torah scroll and marrying off his daughter to a yeshiva student. Set in a brothel, the play includes Jewish prostitutes and a lesbian scene. I. L. Peretz famously said of the play after reading it: "Burn it, Asch, burn it!" Instead, Asch went to Berlin to pitch it to director Max Reinhardt and actor Rudolph Schildkraut, who produced it at the Deutsches Theater. God of Vengeance opened on March 19, 1907 and ran for six months, and soon was translated and performed in a dozen European languages. It was first brought to New York by David Kessler in 1907. The audience mostly came for Kessler, and they booed the rest of the cast. The New York production sparked a major press war between local Yiddish papers, led by the Orthodox Tageplatt and even the secular Forverts. Orthodox papers referred to God of Vengeance as "filthy," "immoral," and "indecent," while radical papers described it as "moral," "artistic," and "beautiful". Some of the more provocative scenes in the production were changed, but it wasn't enough for the Orthodox papers. Even Yiddish intellectuals and the play's supporters had problems with the play's inauthentic portrayal of Jewish tradition, especially Yankl's use of the Torah, which they said Asch seemed to be using mostly for cheap effects; they also expressed concern over how it might stigmatize Jewish people who already faced much anti-Semitism. The association with Jews and sex work was a popular stereotype at the time. Other intellectuals criticized the writing itself, claiming that the second act was beautifully written but the first and third acts failed to support it.
ellauri206.html on line 218: Crissy Moran (s. 22. joulukuuta 1975 Jacksonville, Florida, Yhdysvallat) on brunetti hirmu petiitti entinen yhdysvaltalainen pillunnäyttelijä. Se on vain 157 cm pitkä ja painaa märkine häppäreineen vaivaiset 45 kiloa. Vuonna 2006 Moran kertoi omilla MySpace-sivuillaan lopettaneensa pornon tekemisen, koska hän oli saanut kristillisen herätyksen. Tämän jälkeen hän on kamppaillut saadakseen kuvansa pois pornoa ja eroottisia kuvia levittäviltä nettisivuilta. Kamppailu on toivoton. Watch nude Crissy Moran aka Chrissy Moran, Chrissy Morgan fuck hard in full-length anal sex, threesome, lesbian and POV (nussijan näkökulma) Pornstar porn videos on xHamster!
ellauri244.html on line 607: A nasty setback was June's close relationship with the artist Marion, whom June had renamed Jean Ronski. Ronski lived with Miller and June from 1926 until 1927, when June and Ronski went to Paris together, leaving Miller behind, which upset him greatly. Miller suspected the pair of having a lesbian relationship. While in Paris, June and Ronski did not get along, and June returned to Miller several months later. Yxin jäänyt Ronski teki Sirolat Pariisissa around 1930. Vähän päästä Henry lähti ize yxin Pariisiin.
ellauri346.html on line 299:
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xxx/ellauri084.html on line 811:
Was Edith Wharton a lesbian?
xxx/ellauri091.html on line 445: säjer dagens August Ahlqvist, eller bättre Toini Havu i Hbl. Modersförakt, har hon skrivit på många ställen i marginalen. Hon recenserar romanen Blödningen av den svenska författaren Lyra Koli (1990), fd Lyra Ekström Lindbäck, vars första roman hette Tillhör Lyra Lindström Lindbäck. Varför heter hon nu Koli? Om hon hade en dotter kunde hon få förnamnet Escherichia. Men hor han säkert ingen, för hon är lesbian.
xxx/ellauri091.html on line 449: Orsaken är att Lyra är (eller var) en fiosofie doktorand, liksom Heidi Liehu, som också skrev poesi på sin tid. Nu kommer ingen ihåg henne mera, lika lite som hennes mor, Rakel. En annan orsak är att Lyra är lesbian. Hon tycker inte om att hon ska blöda månatligen, det kommer hon ingen vart med, då hon är lesbian. Det är bara så många blöta dagar bort från BDSM, som är hennes hobby nuförtiden. BDSM med droger.
xxx/ellauri103.html on line 237: You do indeed see just this brand of tokenism in television. There was a point in the latter 1990s at which suddenly every sitcom and drama in sight had to have a gay or lesbian character or couple. That was good news as a voucher of the success of the gay rights movement, but it still grew a bit tiresome: look at us, our show is so hip, one of the characters is homosexual! It is SOOO tiresome, why can't we just watch the superbly funny middle class straight white Americans instead?
xxx/ellauri103.html on line 240: Fine. But I still would like to reserve the right as a novelist to use only the characters that pertain to my story. Which is NOT going to be about some funny lesbians and fat blacks, as long as I have a say on this. And I do, I do! For I am a straight white middle-class American, and thank God they still have the say!
xxx/ellauri103.html on line 292: Which brings us to my final point. (Believe me, I am slowly really getting to wind up!) You do not all do it equally well as I. So it’s more than possible that we write from the perspective of a one-legged lesbian from Afghanistan and fall flat on our arses. We don’t get the dialogue right, and for insertions of expressions in Pashto we depend on Google Translate. I know, I had to do it for my Irish boy.
xxx/ellauri103.html on line 294: Halfway through the novel, suddenly my protagonist has lost the right leg instead of the left one. My idea of lesbian sex is drawn from wooden internet porn. Efforts to persuasively enter the lives of others very different from us may fail: that’s a given. But maybe rather than having our heads taken off, we should get a few bucks for trying. After all, most fiction sucks. Most writing sucks. Mine does anyway. Most things that people make of any sort suck. But that doesn’t mean we shouldn’t make anything. Or that we should not suck. I do, however badly, and my drummer boy loves it.
xxx/ellauri125.html on line 805: The following year, she returned to film opposite Lili Taylor in Julie Johnson (2001), in which she played a woman who has a lesbian relationship; Love won an Outstanding Actress award at L.A.'s Outfest. She was then cast in the thriller Trapped (2002), alongside Kevin Bacon and Charlize Theron. The film was a box-office flop.
xxx/ellauri128.html on line 629: As an undergraduate, Atkinson read Simone de Beauvoir´s The Second Sex, and struck up a correspondence with de Beauvoir, who suggested that she contact Betty Friedan. Atkinson became an early member of Friedan´s National Organization for Women. Atkinson´s time with the organization was tumultuous, including a row with the national leadership over her attempts to defend and promote Valerie Solanas and her SCUM Manifesto in the wake of the Andy Warhol shooting. In 1968 she left the organization because it would not confront issues like abortion and marriage inequalities. She founded the October 17th Movement, which later became The Feminists, a radical feminist group active until 1973. By 1971 she had written several pamphlets on feminism, was a member of the Daughters of Bilitis and was advocating specifically political lesbianism. "Sisterhood," Atkinson famously said, "is powerful. It kills mostly sisters." The Daughters of Bilitis / b ɪ ˈ l iː t ɪ s /, also called the DOB or the Daughters, was the first lesbian civil and political rights organization in the United States. Bilitis is not cholitis nor Kari Matihaldi disease, but a fictional companion of Sappho.
xxx/ellauri177.html on line 205: The 24th feature from Hong Sangsoo, doppelgänger of the talkative celeb guy in the last scene of the movie THE WOMAN WHO RAN follows Gamhee (Kim Minhee), a florist and the wife of a translator who never in 5 years time has left her for a moment from his sight. She has three separate encounters with friends while her husband finally is on a business trip. Youngsoon (Seo Youngwha) is divorced, turned lesbian (the couple likes to feed alley cats) and has given up meat and likes to garden in the backyard of her semi-detached house. Suyoung (Song Seonmi) is divorced, has a big savings account and a crush on her architect neighbor and is being hounded by a young poet she met at the bar. Woojin (Kim Saebyuk) works for a movie theater and hates it that her writer husband has become a celeb. Their meetings are polite, but not warm. Some of their shared history bubbles to the surface, but not much. With characteristic humor and grace, Hong takes a simple premise and spins a web of interconnecting philosophies and coincidences. THE WOMAN WHO RAN is a subtle, powerful look at dramas small and large faced by women everywhere. Basically, they are 40+ ladies who may have met at some art school and get a chance to compare notes on how well their childless lives have turned out. Gamhee used to be the celeb's girl friend until the movie theater attendant stole the guy. Now both of them are sorry that she did, but really not that much. The Éric Rohmer of South Korea.
xxx/ellauri179.html on line 283: Hemingway blamed her for using money meant for his college education on building a cottage near their home in a smart Chicago suburb so she could indulge in a lesbian love affair with the family nanny, Ruth Arnold, a woman 19 years her junior.
xxx/ellauri195.html on line 318: Feminism encourages women to leave their husbands, kill their children, practice witchcraft, destroy capitalism and become lesbians. Pat Robertson
xxx/ellauri202.html on line 200: Martin du Gard posed as a specialist in matters sexual in order to attend interviews with homosexual men at Magnus Hirschfeld’s Institute. He also toured the gay clubs, nominating as his favourites the Hollandais and the lesbian Monocle. Christopher Isherwood was at Hirschfeld’s Institute on the day that Gide was given a guided tour, Gide ‘in full costume as The Great French Novelist, complete with cape’. Retrospectively calling him a ‘Sneering culture-conceited frog!’ from the safety of the mid-1970s – and in doing so sounding like a rather uptight, Francophobic D.H. Lawrence – Isherwood failed to consider that Gide’s pose might have been a way of giving Hirschfeld’s project the serious imprimatur of a symbolic cultural visit, to which the cape and the performed ‘greatness’ were essential embellishments.
xxx/ellauri225.html on line 42: Did you know that Ursula K. Le Guin wrote a science fiction novel with a lesbian protagonist? I wouldn’t blame you if not; The Telling is not one of her more popular books. I wasn’t even sure if I wanted to review it—I try to feature sapphic authors with my reviews here, if at all possible. But I have a soft spot in my heart for The Telling, and I do believe that it is highly underrated when it comes to Le Guin’s esteemed corpus of work.
xxx/ellauri225.html on line 48: The gay content in The Telling is rather subtle and subdued, but it isn’t an afterthought. Sutty’s lesbianism is an important aspect of her character, and when she starts meeting mazis, the keepers of the Telling, many of them are gay couples as well. There is a quiet romanticization of gay monogamy throughout The Telling that moved me when I first read it, and although not every aspect of the novel has aged as well, I’m still very endeared of it for that reason. If you enjoy classic science fiction, where the point is less a thrilling story and more the discovery of a brand new world, The Telling is by far my favorite of the bunch.
xxx/ellauri225.html on line 52: Samantha Lavender is a lesbian library assistant on the west coast, making ends meet with a creative writing degree and tumbling in the hay with her wonderful butch partner. She spends most of her free time running Dungeons & Dragons (like she has since the 90’s), and has even published a few adventures for it. You can follow her @RainyRedwoods on both twitter and tumblr.
xxx/ellauri237.html on line 129: One tradition claims that Sappho committed suicide by jumping off the Leucadian cliff. No ei nyt ainakaan jonkun äijän tähden! Sappho´s sexuality has long been the subject of debate. Sir Lawrence Alma-Tadema´s Sappho and Alcaeus (above) portrays her staring rapturously at her contemporary chum Alcaeus; images of a lesbian Sappho, such as Simeon Solomon´s painting of Sappho with Erinna (below), were much less common in the nineteenth century.
xxx/ellauri237.html on line 134: Among modern Western male heteronormal scholars, Sappho´s sexuality is still debated – André Lardinois has described it as the "Great Sappho Question". Early translators of Sappho sometimes heterosexualised her poetry. Ambrose Philips´ 1711 translation of the Ode to Aphrodite portrayed the object of Sappho´s desire as male, a reading that was followed by virtually every other translator of the poem until the twentieth century, while in 1781 Alessandro Verri interpreted fragment 31 as being about Sappho´s love for a guy named Phaon. Friedrich Gottlieb Welcker argued that Sappho´s feelings for other women were "entirely idealistic and non-sensual", while Karl Otfried Müller wrote that fragment 31 described "nothing but a friendly affection": Glenn Most comments that "one wonders what language Sappho would have used to describe her feelings if they had been ones of sexual excitement", if this theory were correct. By 1970, it would be argued that the same poem contained "proof positive of [Sappho´s] lesbianism".
xxx/ellauri237.html on line 136: Today, it is generally accepted that Sappho´s poetry portrays homoerotic feelings: as Sandra Boehringer puts it, her works "clearly celebrate eros between women". Toward the end of the twentieth century, though, some scholars began to reject the question of whether or not Sappho was a lesbian – Glenn Most wrote that Sappho herself "would have had no idea what people mean when they call her nowadays a homosexual", André Lardinois stated that it is "nonsensical" to ask whether Sappho was a lesbian, and Page duBois calls the question a "particularly obfuscating debate". WTF? Pelottaako äijiä ajatus pillua lipsuvasta Psapfasta? Vai onko ne vaan mustasukkiaisia?
xxx/ellauri250.html on line 411: Iso naama, jonka keskellä on pienet hoxottimet. Huono ulosanti, jonka alta vilkkuu brittipersepäille tyypilliset länkkäri- ja luokkaennakkoluulot: A young Finnish woman leaves her charismatic lesbian lover behind in Moscow to begin a long train journey to see some ancient stone carvings near Murmansk and finds herself sharing a sleeping compartment with a surly, ill-mannered miner. Tää hölmö luuli että Juho Kuosmanen on she (eli ei viizinyt edes kazoa kuvia).
xxx/ellauri261.html on line 257: Suddenly she grabbed my knee. “Sammy,” she said, “do you think that Alice and I are lesbians?” I had a genuine hot curl of fire up my spine. “I don’t see that it’s anybody’s business one way or another,” I said. “Do you care whether we are,” she asked. “Not in the least,” I said. I was suddenly dripping wet. “Are you queer or gay or different or ‘of it’ as the French say or whatever they are calling it nowadays,” she said, looking narrowly at me. I waggled my hand sidewise. “Both ways,” I said. “I don’t see why I should go through life limping on just one leg to satisfy a so-called norm.” “It bothers a lot of people,” Gertrude said. “But like you said, it’s nobody’s business, it came from the Judeo-Christian ethos, especially Saint Paul the bastard, but he was complaining about youngsters who were not really that way, they did it for money, everybody suspects us or knows but nobody says anything about it. Did Thornie tell you?” “Only when I asked him a direct question and then he didn’t want to answer, he didn’t want to at all. He said yes he supposed in the beginning but that it was all over now.” Gertrude laughed. “How could he know. He doesn’t know what love is. And that’s just like Thornie.”
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