According to Jonathan Loesberg, * This paper is a result of the project SGS/22/2012. Her search for the hidden female body is, for greater contrast, set in the Victorian era, which is still, to a large extent, characterized by prudishness and hypocrisy. In her novels she rewrites history from a lesbian-feminist point of view, using the genre of the historical romance to uncover silenced cultural history, and linking it with modern times. Returning to history, Waters is not only revitalizing the genre of queer romance but also recreating and recovering a context and a line which have been doomed to be invisible. 1966), who has become renowned for historical queer romances set mainly in the Victorian period, even though her two most recent novels, The Nightwatch (2006) and The Little Stranger (2009), take place during and after World War II, respectively.
One of the exceptions is the British writer Sarah Waters (b. In recent decades, the Western social and cultural climate has become more liberal towards the representation of LGBTQA 1 minorities in the media, both in mainstream and popular culture, and yet they mostly tend to portray the contemporary state. The essay deals with the challenges and options that arise from the rejection of compulsory heterosexuality and points out the fluid and stage-like character of identity formation. Following the life story of Nancy Astley, Waters connects her search for identity with the theatrical performances through which the protagonist explores her body and polarities between the masculine and the feminine. As the novel is set in Victorian times it serves as a means of contrast with the contemporary state and at the same time represents a feminist and lesbian recreation of the silenced history line.
This essay analyzes the performative aspect of gender identity in a queer romance, Tipping the Velvet by Sarah Waters.
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