Résumé Marié et père de famille, John Addington Symonds, critique et homme de lettres victorien, était aussi un homosexuel qui manifesta un profond intérêt pour la « science » de l’« inversion» sexuelle, ainsi que pour les formes culturelles ayant permis l’expression de l’amour entre personnes de même sexe. Une étude centrée sur son séjour prolongé à Davos, dans les Alpes suisses, et une analyse de son autobiographie non publiée comme de ses discours sur l’esthétique et la culture, nous permet de saisir dans quelle mesure sa théorie de l’hybridité lui permit de « vivre avec » une sexualité queer.
As critics, we had become blind to the relational structures pervading life-writing texts. To redress this problem, Eakin posited three broad categories of relationality:texts that locate the subject within a social, communal environment; texts that explore the subject's relation to key individuals or "proximate other [s]"; and texts that dramatise "intrarelational" connections between a subject's multiple, discontinuous selves (69, 86, 94-italics in original).Portrait of a Marriage appears to fit neatly into the second category: an exploration of the subject in relation to "proximate other [s]". The book combinesVita's confession with chapters of biography that recount and re-tell the same events.Nigel also extends the chronology to encompass Vita's later life. When read in isolation, Vita's confession also demonstrates a concern with the influence of those around her. In particular, she juxtaposes her relationships with Violet and Harold, her husband, with Nigel's biography repeating this juxtaposition. When viewed as a whole, however, Portrait's composite structure suggests a further category of relationality. The events being scrutinised impinge on Nigel's life, but at no point does
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