• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Key Terms on Queer Themes in the Middle Ages

In order to explore the theme of queer acceptance and rejection during the Middle Ages there are a number of terms to define and contexts to give. The first and most important term to define in order to further understand the subject is the term “queer” itself. In these articles the word “queer” refers to same-sex love and attraction as well as referring to anything that has the power to disturb the status quo. As Richard E. Zeikelowitz writes, “‘Queer’ can thus signify any non normative behavior, relationship, or identity occurring at a specific moment” (67). This definition is significant in the following articles because of the extremely hegemonic culture of Europe in the Middle Ages, making it very hard for a person to question or act out against the status quo in any way. To be queer in any age is revolutionary, to be queer in the Middle Ages is significantly more dangerous and radical. 

 Illustration of a man in renaissance clothing by Paul Mercuri from “Costumes Historiques” (Paris, ca.1850′s or 60’s).
Source: http://www.oldbookart.com/2012/01/15/middle-ages-medieval-dress/

Another term that is important to understand is “gender non-conformity”. To be gender non-conforming is to act or appear in a way that does not conform to typical social and cultural expectation about what is appropriate to their gender. Gender non-conformity is especially of interest in the Middle Ages because “current concepts of cross dressing and gender roles change had their origin in the 19th century, and it is from these initial assumptions that current differentiation of sex and gender have evolved” (Bullough). The way that we view gender and the cultural expectations we have surrounding how a person is supposed to behave as dictated by their gender today has its roots specifically within the Middle Ages. This definition helps inform just how pervasive gender roles are to the culture of the Medieval Period. 

A woman called Walpurgis (left)
wields a sword in this illustration from
a ca. 1300 manuscript. Source:
https://collections.royalarmouries.org/archive/rac-archive-391002.html

“Cross dressing” is another term that relates to queerness in the Middle Ages, and is a sub-sect of gender non-conformity. To cross dress, a person of one gender choses to wear the clothing typically only associated with the opposite gender. An example of this in the Middle Ages would be a woman being portrayed in knight’s armor or a man wearing a dress. This also illustrates to the way gender roles that originated in the Medieval Period are still circulating in current society. During the Middle Ages cross dressing would be seen as parts of plays and courtly activities like at a carnival in light context, but would be shocking and troubling in any other context. 

Works Cited

Bullough, Vern L., and James A. Brundage. Handbook of Medieval Sexuality. Routledge, 2010.

Zeikowitz, Richard E. “Befriending the Medieval Queer: A Pedagogy for Literature Classes.” College English, vol. 65, no. 1, 2002, p. 67., doi:10.2307/3250731.

Primary Sidebar

Recent Posts

  • Hello world!

Recent Comments

  • A WordPress Commenter on Hello world!

Archives

  • August 2019

Categories

  • Uncategorized

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

Copyright © 2025 · News Pro with Full Header on Genesis Framework · WordPress · Log in