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Abigail Joseph Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate Schoo

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Abigail Joseph Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate Schoo QUEER THINGS: VICTORIAN OBJECTS AND THE FASHIONING OF HOMOSEXUALITY Abigail Joseph Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Abigail Joseph All rights reserved ABSTRACT Queer Things: Victorian Objects and the Fashioning of Homosexuality Abigail Joseph “Queer Things” takes the connections between homosexuality and materiality, and those between literary texts and cultural objects, as major repositories of queer history. It scrutinizes the objects that circulate within the works of Oscar Wilde as well as in the output of high fashion designers and the critics and consumers who engaged with them, in order to ask how gay identities and affiliations are formed and expressed through things. Bringing recent critical interest in the subtleties of nineteenth-century “thing culture” into contact with queer theory, I argue that the crowded Victorian object-world was a crucial location not only for the formation of social attitudes about homosexuality, but also for the cultivation of homosexuality’s distinctive aesthetics and affective styles. In attending to the queer pleasures activated by material attachments that have otherwise been deployed or disavowed as stereotypes, my project reconsiders some of the most celebrated works of the gay canon, and inserts into it some compelling new ones. Furthermore, in illuminating the Victorian origins of modern gay style and the incipiently modern gayness of Victorian style, it adds nuance and new substance to our understanding of the elaborate material landscapes inhabited by Victorian bodies and represented in Victorian texts. $ The first part of the dissertation uses extensive archival research to excavate a history of queer men’s involvement in women’s fashion in the mid-nineteenth century. In the first chapter, juxtaposing accounts of the famous Boulton and Park drag scandal with a simultaneously emerging genre of overwrought fashion criticism, I argue that an (over) investment in fashionable objects and a detailed knowledge of fashionability became important sites for the develop of gay-e#eminate social styles. The second chapter positions Charles Worth, founder of the modern system of haute couture, as the progenitor of a queer species of cross-gendered, non-heterosexual relations between male high-fashion designers and female clients. Though they are not based on same-sex eroticism, I argue that these relations deserve consideration as queer.$ $ The second part of the dissertation considers the representational functions of objects in several works across the career of Oscar Wilde. The third chapter presents a reading of De Profundis,Wilde’s infamously hard-to-read prison letter, which focuses on how the text interweaves anxieties about the transmission of material objects into its complex a#ective structure. The fourth chapter considers the e#ects of the risky but irresistible attractions of that letter’s addressee, the widely-loathed Bosie Douglas, on Wilde’s aesthetic practice. Juxtaposing Bosie’s charms with those of Algernon Moncrie# in The Importance of Being Earnest, and then moving to the little-read letters which document the final post- prison years of Wilde’s life, I suggest that the frustrating states of intemperance and indolence become sites, for Wilde, of erotic excitement, artistic innovation, and political resistance. QUEER THINGS: VICTORIAN OBJECTS AND THE FASHIONING OF HOMOSEXUALITY Contents List of I!ustrations" !!!!!!!! ! iii Acknowledgements"" " " " " " " " " iv Introduction: Exquisite Materials!! ! ! ! ! ! 1 !!!! Part I: Histories of Fashion 1. “Excess of Every Kind”: Dress and Drag Around 1870!! ! ! !!!!!! i. “Anything Strange and Out of the Way”: The Scandal of Fashion!! ! 43 ii. More Complex Configurations: Sex Changes/Silhouette Changes!! 47 iii. Incongruous Sparkles: Complexity, Camp, and the Uses of Fashion Criticism! 59 iv. “Ghosts of Rich Silks”: Interrogating Style!! ! ! ! ! 67 v. Fast Girls and False Women!! ! ! ! ! ! ! 77 vi. Voluminous Behinds: The Bustle and Anal Eroticism!! ! !! 87 2. Charles Worth and the Gay History of Haute Couture i. “A Wizard of Silks and Tulle”: Fashion’s Queer History!! ! ! ! 101 !!!!!!! ii. The Shock of the Man-Milliner!! ! ! ! ! ! 108 iii. “There are Queer People in Paris”: Queer Socialities!! ! ! ! 117 ! iv. “An Artist in his Way”: Queer Personalities!! ! ! ! ! 131 v. “Tinsel and Glitter”: Re-reading Extravagance!! ! ! ! ! 142 vi. “Un Foui!is des Constructions”: Queer Spatialities!! ! ! ! ! 150 vii. “The Love of His Life”: Psychoanalysis, Homosexuality, Fashion!! ! 169 i Part II: Histories of Letters 3. Wilde’s Trials and Errors of Transmission i. “A Hyacinth on the Sofa”!! ! ! ! ! ! ! ! 183 ii. “Look at the History of that Letter!”: The Risks of Transmission!! ! 189 iii. Pieces of Work: Splitting De Profundis"" " " " " " 201 iv. “What was Really Exquisite”: Routes of Damage, Remains of Desire!! ! 211 v. “Through a Broken Heart”: Christ’s Erotic Mediations!! ! ! ! 223 vi. Bad Romance!! ! ! ! ! ! ! ! ! 234 4. The Importance of Being (with) Bosie i. “They Don’t Understand”!! ! ! ! ! ! ! ! 241 ! ii. “Ups and Downs in Bunburying”: Excessive Consumption, Comedic Production! 247 iii. “As Usual in a Whirl”: Seeking Bosie’s Allures!! ! ! ! ! 259 iv. “No Renunciation”: Tragic Love, Beautiful Resistance!! ! ! ! 268 v. “Finely-Carved Boys”: The Consolations of Transience!! ! ! ! 277 vi. Re-writing: History as Flirtation!! ! ! ! ! ! 283 ! vii. “In Loneliness and Dreams”: The Aesthetics of Doing Nothing!! ! 289 Coda: “Staining the Thoughts with its Bloom”!! ! ! ! ! 294 Works Cited" """"""""""311 ii List of Illustrations Figure 1. “The March Fashions.” The Englishwoman’s Domestic Magazine, ! March 1870!! ! ! ! ! ! !! 45 Figure 2. “Capture of Men Dressed Up As Women.” The I!ustrated Police News, ! 7 May 1870 !! ! ! ! ! ! !! 46 Figure 3. Fashion Plate. Godey’s Lady’s Book, Spring 1860! !! !! 55 Figure 4. Fashion Plate. Le Fo!et, November 1866! !! ! ! 56 ! Figure 5. Fashion Plate. Le Fo!et, August 1868!! ! ! ! ! 56 Figure 6. “The New Look in the 1870’s.” Godey’s Lady’s Book, May 1870 !! 57 Figure 7. “‘Robe bou%ante,’ ‘gonflement,’ or with ‘pou%s.’” Le Fo!et, April 1869 !! 94 Figure 8. “Dress and the Lady.” Punch, August 1856 !! ! ! ! 95 Figure 9. Caricature of the Bustle. Punch, 1870!! ! ! ! ! 96 Figure 10. Caricature of the Bustle. Punch, 1874!! ! ! ! ! 96 Figure 11. A Fitting at Maison Worth. George Sala, ! Paris Herself Again in 1878-9 (London: 1884) ! !! ! ! 123 Figure 12. “The Rainbow Portrait” of Elizabeth I, c. 1600-1603!! ! ! 176 Figure 13. “J.P. Worth as the Shah of Persia” ! ! Jean-Philippe Worth, A Century of Fashion (Boston: 1929) ! ! 181 Figure 14. Oscar Wilde and Bosie Douglas in Oxford, 1894!! ! ! 249 Figure 15. Allan Aynesworth and George Alexander in ! The Importance of Being Earnest, 1895! !! ! ! ! 251 iii Acknowledgements ! My dissertation committee guided this work with vigor and generosity. Sharon Marcus has been an extraordinary advisor: her work has been an inspiration to me, and her responses to mine have driven me to become a far better scholar and writer than I was when I began. The overlaps in our scholarly interests have made for many moments of fertile conversation and real intellectual joy. Jenny Davidson has been an indispensable mentor since my first days as a graduate student. She gave marvelously acute, minute feedback and guidance throughout this process, and without her unfailing support, humor, honesty, and friendship I would not have persevered through some of its more di%cult moments. Nick Dames o&ered invaluable words of encouragement, and my work here owes much to his singularly insightful, unfailingly kind brand of criticism. David Kurnick and Eileen Gillooly joined my committee as readers for my defense; their illuminating comments will help me take this project into the next stage of its life. ! I am fortunate to have studied under a remarkable set of scholars and teachers. My semesters working as a teaching assistant with Sarah Cole, Erik Gray, and Gayatri Spivak have been among my most memorable and important experiences at Columbia; their brilliant pedagogy continues to influence my own.This project would not exist without the professors who introduced me, as an undergraduate, to new literary and theoretical worlds: my debts to Leah Price and Heather Love, especially, are large and perpetual. ! The best part of graduate school has been the friendships it has brought me. I am grateful to the many dear friends who listened to my ideas and inspired me with with their own, shared in my excitements and soothed my anxieties ' and came to my parties. I will forever cherish the fun that was had with the entering graduate cohort of 2004. My colleagues in the 19th Century Colloquium provided valuable critique and camaraderie over wine, cookies, and excellent pizza. Musa Gurnis and Atticus Zavaletta shared many adventures, and made long nights (and long years) of writing into unforgettable events. Armando Mastrogiovanni has been an intrepid fellow-traveler and devoted companion; his energies have amazed me from the start and continue to do so now that, happily, we are neighbors once again. Barbara Andersen and Lindsay Waldman shared my beloved apartment, and became beloved friends. Leeore Schnairsohn, long a comrade and newly a colleague, has brightened countless days with sympathy, insight, laughter; I can imagine neither life nor the NYU Writing Center without him. iv ! Naomi Straus
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