понедельник, 27 апреля 2015
У
tes3m в посте о Поле Суон/Иолае были слова о том, что "
многие мужчины, особенно в США, находили внешность и манеры Рудольфа Валентино недостаточно мужественными и не понимали, почему его так любят женщины".
А мне попался "за два века до того" обратный сюжет:
Though their castration was thought to have rendered castrati
‘colder’ and more effeminate than other men (an idea which in modern
times became stereotypically associated with homosexuality), according
to early modern ideas effeminacy in a man was actually a sign of
being deeply attracted to women. The caricature of the fop was of a
man of fashion in thrall to Italian luxuries who became effeminate
because he loved women too much, not because he eschewed them
altogether. In many respects castrati matched the aesthetics of an
idealized form of male beauty beloved by eighteenth-century Europeans,
and were convincingly staged, to contemporary audiences, as
romantic, lustily heterosexual heroes. Women were thought to be more
responsive and attracted to men who displayed signs of effeminacy,
although their actual views on the subject usually went undocumented
(unless they were actresses, prostitutes, or playwrights with no sexual
reputation to lose). Experiences of female desire must have been as
variable as they were numerous. One rare appreciation of the fashionable
ideals of male beauty written by a woman is among the Letters
from Italy (1776) by Lady Anna Riggs Miller. Lady Anna recorded her
damning verdict upon the famously muscular statue of the Farnese
Hercules: ‘if all mankind were so proportioned, I should think them
very disagreeable and odious’. By contrast, she was drawn to the lithe
and youthful statue of the Apollo Belvedere, which epitomized the
contemporary ideal of male beauty, exuding ‘angelic sweetness’.(c) H. Bery - "The Castrato and his Wife", Oxford University Press, 2012 - P. 75
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28.04.2015 в 00:53treasure-hunting at its best)
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