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A social history of the role of eunuchs in the households and courts of Greece, Rome, China, Byzantine, medieval Europe and the East, which aims to challenge traditional preconceptions about their duties.
Implements stories of surgical alteration to consider how early modern individuals conceived the relationship between body, mind, and self.
Reveals tales of sex and love from ancient Greece, Rome, and other Mediterranean cultures, offering insight into these civilizations' beliefs about contraception, bisexuality, cross-dressing, nymphomania, and erotic practices.
The Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato’s comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy—involving teachers, patrons, colleagues, and relatives—whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers—from Cavalli and Pergolesi to Handel, Mozart, and Rossini—were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
Essays exploring medieval castration, as reflected in archaeology, law, historical record, and literary motifs. Castration and castrati have always been facets of western culture, from myth and legend to law and theology, from eunuchs guarding harems to the seventeenth- and eighteenth-century castrati singers. Metaphoric castration pervadesa number of medieval literary genres, particularly the Old French fabliaux - exchanges of power predicated upon the exchange or absence of sexual desire signified by genitalia - but the plain, literal act of castration and its implications are often overlooked. This collection explores this often taboo subject and its implications for cultural mores and custom in Western Europe, seeking to demystify and demythologize castration. Its subjects includearchaeological studies of eunuchs; historical accounts of castration in trials of combat; the mutilation of political rivals in medieval Wales; Anglo-Saxon and Frisian legal and literary examples of castration as punishment; castration as comedy in the Old French fabliaux; the prohibition against genital mutilation in hagiography; and early-modern anxieties about punitive castration enacted on the Elizabethan stage. The introduction reflects on these topics in the context of arguably the most well-known victim of castration in the middle ages, Abelard. LARISSA TRACY is Associate Professor of Medieval Literature at Longwood University. Contributors: Larissa Tracy, Kathryn Reusch, Shaun Tougher, Jack Collins, Rolf H. Bremmer Jr, Jay Paul Gates, Charlene M. Eska, Mary A. Valante, Anthony Adams, Mary E. Leech, Jed Chandler, Ellen Lorraine Friedrich, Robert L.A. Clark, Karin Sellberg, LenaWånggren
First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
The Perfect Servant reevaluates the place of eunuchs in Byzantium. Kathryn Ringrose uses the modern concept of gender as a social construct to identify eunuchs as a distinct gender and to illustrate how gender was defined in the Byzantine world. At the same time she explores the changing role of the eunuch in Byzantium from 600 to 1100. Accepted for generations as a legitimate and functional part of Byzantine civilization, eunuchs were prominent in both the imperial court and the church. They were distinctive in physical appearance, dress, and manner and were considered uniquely suited for important roles in Byzantine life. Transcending conventional notions of male and female, eunuchs lived outside of normal patterns of procreation and inheritance and were assigned a unique capacity for mediating across social and spiritual boundaries. This allowed them to perform tasks from which prominent men and women were constrained, making them, in essence, perfect servants. Written with precision and meticulously researched, The Perfect Servant will immediately take its place as a major study on Byzantium and the history of gender.
In a sweeping saga of music and vengeance, the acclaimed author of The Vampire Chronicles draws readers into eighteenth-century Italy, bringing to life the decadence beneath the shimmering surface of Venice, the wild frivolity of Naples, and the magnetic terror of its shadow, Vesuvius. This is the story of the castrati, the exquisite and otherworldly sopranos whose graceful bodies and glorious voices win the adulation of royal courts and grand opera houses throughout Europe. These men are revered as idols—and, at the same time, scorned for all they are not. Praise for Anne Rice and Cry to Heaven “Daring and imaginative . . . [Anne] Rice seems like nothing less than a magician: It is a pure and uncanny talent that can give a voice to monsters and angels both.”—The New York Times Book Review “To read Anne Rice is to become giddy as if spinnning through the mind of time.”—San Francisco Chronicle “If you surrender and go with her . . . you have surrendered to enchantment, as in a voluptuous dream.”—The Boston Globe “Rice is eerily good at making the impossible seem self-evident.”—Time
Eunuchs and Castrati examines the enduring fascination among historians, literary critics, musicologists, and other scholars around the figure of the castrate. Specifically, the book asks what influence such fascination had on the development and delineation of modern ideas around sexuality and physical impairment. Ranging from Greco-Roman times to the twenty-first century, Katherine Crawford brings together travel accounts, diplomatic records, and fictional sources, as well as existing scholarship, to demonstrate how early modern interlocutors reacted to and depicted castrates. She reveals how medicine and law operated to maintain the privileges of bodily integrity and created and extended prejudice against those without it. In consequence, castrates were constructed as gender deviant, disabled social subjects and demarcated as inferior. Early modern cultural loci then reinforced these perceptions, encouraging an othering of castrates in public contexts. These extensive, almost obsessive accounts of appearance, social propensities, and gender characteristics of castrated men reveal the historical lineages of sexual stigma and hostility towards gender non-normative and physically impaired persons. For Crawford, they are the roots of sexual and physical prejudices that remain embedded in the western experience today.
A little-known yet significant role in Chinese history was played by the palace eunuchs--castrated men who developed a concealed subcaste that manipulated monarchs and caused the downfall of immense dynasties. This book vividly chronicles the history of the imperial eunuchs: from the murky origins of the practice to the Ming dynasty when 100,000 eunuchs were employed as agents of the Dragon Throne, to the 1912 uprising that swept away the monarchy and the age-old eunuch system forever.