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What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed. In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications. Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.

Arts, French --- Lesbians --- Lesbian artists --- Female gays --- Female homosexuals --- Gay females --- Gay women --- Gayelles --- Gays, Female --- Homosexuals, Female --- Lesbian women --- Sapphists --- Women, Gay --- Women homosexuals --- Gays --- Women --- Artists --- Paris (France) --- Intellectual life --- Sociology of culture --- Sociology of the family. Sociology of sexuality --- Sexology --- Art --- Brooks, Romaine --- Moore, Marcel --- Solidor, Suzy --- Cahun, Claude --- anno 1920-1929 --- anno 1930-1939 --- France --- LGBTQIA culture --- Homosexuality --- Interbellum --- Female homosexuality --- Book

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"This book is a cutting-edge interdisciplinary collection of essays by some of today's most forward-thinking scholars. These writers explore the ways in which the prefix 'trans' erupts German identity and the identity of Germany itself. The volume calls German identity into question and examines the ways in which the prefix 'trans' is deployed to these ends in relation to national borders, historical limits, political institutions, social practices, and forms of cultural and aesthetic expression. The collection reveals the ways in which the transcendence of national, corporeal, disciplinary, and institutional limits is embodied by the use of the prefix 'trans'--and has the potential to do so much more. The volume engages the multifaceted nature of 'trans'--and a Germaneness that defies geography--to explore how Germans and Germany are increasingly situated 'beyond' limits. Collectively, these investigations reveal a radical discourse of Germanness, a discourse with significant implications for historical and contemporary German self-understanding. The book asks: What is German identity beyond geography? And what are the promises and perils for Germany, and German identity, in becoming transGerman?"--

National characteristics, German --- Transnationalism --- Transgender people --- Transcendence (Philosophy) --- Identity (Psychology) --- Germans --- Visual communication --- Social aspects --- Social aspects --- Social aspects --- Germany --- Germany --- Germany --- Emigration and immigration --- Social aspects. --- Intellectual life. --- Social conditions.

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Les photographies de Claude Cahun (1894-1954), aujourd’hui l’objet d’un véritable engouement, sont restées quasiment inconnues jusqu’au début des années 80. Sa vie, son œuvre (littéraire et artistique) font de Claude Cahun un être d’exception, en marge par rapport aux ordres dominants (sexuels, sociaux…), à une époque d’exploration avant-gardiste intense et de bouleversement des mœurs – notamment en ce qui concerne l’émancipation des femmes. Parmi toutes les œuvres de Claude Cahun, qui a commencé à pratiquer la photographie à l’âge de quinze ans, ce sont sans doute ses autoportraits qui ont suscité le plus d’intérêt. L’artiste se sert de sa propre image pour démonter un à un les clichés associés à l’identité. Claude Cahun s’est réinventée à travers la photographie (comme à travers l’écriture), en posant pour l’objectif avec un sens aigu de la performance, habillée en femme, en homme, cheveux longs ou crâne rasé (chose des plus incongrues pour une femme de l’époque. L’exposition (140 œuvres environ et divers documents) et l’ouvrage qui l’accompagne proposent plusieurs axes de lecture qui vont de ses autoportraits évoquant une identité subversive jusqu’à ses métaphores érotiques ou ses incursions dans le champ politique.

Photographers --- Photography, Artistic --- Portrait photography --- Surrealism --- Photographes --- Photographie artistique --- Portrait (Photographie) --- Surréalisme --- Catalogs --- Exhibitions --- Catalogues --- Expositions --- Cahun, Claude, --- surrealisme --- fotografie --- Cahun, Claude --- 20ste eeuw --- Photographie --- Surréalisme --- Exhibitions. --- Photography, Artistic - Catalogs --- Portrait photography - Exhibitions --- Surrealism - France - Exhibitions --- Cahun, Claude, 1894-1954 --- Cahun, Claude, - 1894-1954 - Exhibitions --- Cahun, Claude, - 1894-1954 - Self-portraits - Exhibitions --- surrealisme. --- Cahun, Claude. --- 20ste eeuw. --- Cahun, Claude, - 1894-1954