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Italy's Eighteenth CenturyGender and Culture in the Age of the Grand Tour$
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Paula Findlen, Wendy Wassyng Roworth, and Catherine M. Sama

Print publication date: 2009

Print ISBN-13: 9780804759045

Published to Stanford Scholarship Online: June 2013

DOI: 10.11126/stanford/9780804759045.001.0001

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PRINTED FROM STANFORD SCHOLARSHIP ONLINE (www.stanford.universitypressscholarship.com). (c) Copyright Stanford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in SSO for personal use (for details see http://www.stanford.universitypressscholarship.com/page/privacy-policy).date: 20 February 2018

Sex Without Sex

Sex Without Sex

An Erotic Image of the Castrato Singer

(p.203) Eight Sex Without Sex
Italy's Eighteenth Century

Roger Freitas

Stanford University Press

By the beginning of the eighteenth century, the castrato had become the overwhelming favorite to portray young, amorous men in the operatic stage. This chapter focuses on the observed effeminate characteristics of the castrati and examines how their evident effeminacy was linked to eroticism, arguing that castrati represented a theatrical imitation, characteristically exaggerated, of an erotically charged effeminate boy on the operatic stage.

Keywords:   castrato, amorous, effeminate, castrati, eroticism, operatic stage

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