This article examines the significance of music and musical performance in Teleny, or the Reverse of the Medal (1893), an anonymous pornographic novel attributed by some scholars to Oscar Wilde. It draws upon historical material on late-Victorian concert venues, queer literary subcultures and sexology to illuminate the representation of musical spaces in the text. Teleny exists in two different versions: an English text, which is set in Paris, and a French text, which is set in London. The opening section of the article suggests that Teleny’s dynamic engagement with cosmopolitan cultural exchange between Paris and London is brought into sharper focus by situating the musical performances in the novel in the precise built environment of London’s Queen Hall. The second section explores the novel’s concern with queer geographies (the Orient, Eastern Europe) in the context of other texts that address music and homosexual identity in the period. The third section examines the significance of space in the novel’s presentation of musical listening, arguing that its focus on the materiality of sound and the haptic transmission of desire responds to sexological conceptions of embodied musical response by homosexual subjects. The significance of this sensory experience of listening is understood in the light of Sara Ahmed’s theorization of ‘queer phenomenology’. Finally, the article traces the significance of musical allusions to songs by Franz Schubert to show how they form part of the novel’s broader concerns with the spatial articulation of same-sex desire and the representation of queer urban geographies. K E Y W O R D S : music, homosexuality, sexology, pornography, decadence, touch, space, the senses, embodiment, Schubert, Paris, Oscar Wilde In 1894 the publisher Leonard Smithers issued a prospectus for the pornographic novel Teleny, or the Reverse of the Medal, which suggested to potential purchasers that the text should be understood as reflecting upon ‘the subtle influence of music and musicians in connection with perverted sexuality’.1 In doing so, he sought to capitalize on the prevalent association in fin-de-siècle literary and sexological discourses between certain aesthetic practices and sexual identities: ‘[s]how me a musician’, asserted the writer Edward Prime-Stevenson, ‘and show me a homosexual’.2 As a text that is self-consciously engaged with the central place of music in queer sub-cultures, Teleny presents a useful case study for demonstrating the significance of the spatial dynamics of queer musical geographies in fin-de-siècle culture more broadly. Cultural geographers and architectural theorists have demonstrated that experiences 1 Italics in original. Prospectus for Teleny, cited in Peter Mendes, Clandestine Erotic Fiction in English, 1800–1930: A Bibliographical Study (Aldershot: Scolar Press, 1993), p. 252. 2 Edward Prime-Stevenson [Xavier Mayne], The Intersexes: A History of Similisexualism as a Problem in Social Life ([n.p.]: privately printed, 1908), p. 395. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted reuse, distribution, and reproduction in any medium, provided the original work is properly cited. Journal of Victorian Culture, 2020, Vol. XX, No. XX, 1–16 doi: 10.1093/jvcult/vcaa016 Original Article D ow naded rom http/academ ic.p.com /jvc/advance-article-ai/10.1093/jvcult/vcaa016/5857861 by gest on 18 June 2020 2 • Queer Music in the Queen’s Hall of space are constitutive of individual and shared conceptions of subjectivity.3 A number of studies have explored the significance of the places and spaces of queer sexuality in fin-de-siècle London – from Hyde Park to Jermyn Street, Piccadilly Circus to Soho Square.4 Scholars have also examined the queer erotics of aesthetic encounter in Victorian art galleries and museums.5 However, little attention has been paid to the queer geography of spaces in which Western art music was performed. The manner in which desiring subjects inhabit space is central to understanding the formation of queer musical sub-cultures at the fin de siècle: from the enclosed ‘box at the Opera’ in which Oscar Wilde’s Dorian hears in the overture to Wagner’s Tannhäuser a ‘presentation of the tragedy of his own soul’, to the domestic musical salons frequented by ‘swarm[s] of pallid dilettanti . . . destitute of any manly vigour or grit’, to the privacy of the Cambridge college bedroom in which E. M. Forster’s Maurice and Clive listen to a piano roll of Tchaikovsky’s Sixth Symphony (Pathétique).6 Such musical spaces acted to shape queer listening practices marked by shifting patterns of proximity and distance, formality and intimacy, privacy and disclosure. Teleny is a text designed for a sophisticated cosmopolitan coterie readership alert to the queer implications of its frequent cultural allusions, both to music and the other arts. It assumes that its readers participate in the shared interpretative dynamics of what Matthew Potolsky has called the ‘decadent republic of letters’: a community of readers sustained through shared practices of highly self-conscious aesthetic consumption.7 The narrative of the novel focuses on a doomed love affair between Camille Des Grieux, a self-conscious Decadent aesthete, and René Teleny, a strikingly beautiful Hungarian virtuoso pianist. Narrated by way of a dialogue between Des Grieux and a subsequent lover, the text recounts an episodic series of graphic sexual encounters, involving both the central protagonists and a host of other minor characters. The opening of the novel recounts their first meeting, where Des Grieux listens enraptured to a recital by Teleny. As their love affair progresses, Des Grieux grows to feel neglected by Teleny, becoming increasingly convinced of the pianist’s infidelity. In a final moment of crisis, Des Grieux realizes that Teleny has been having affair with the aesthete’s own mother. Descending into temporary hysterical madness, he returns to his senses only to discover that Teleny has taken his own life. The novel is something of a generic hybrid: it incorporates a plot that is reminiscent of the most melodramatic of Victorian sensation fiction, 3 See for example Henri Lefebvre, Everyday Life in the Modern World, trans. by Sacha Rabinovitch (New Brunswick, NJ: Transaction Books, 1990); David Bell and Gill Valentine, eds, Mapping Desire: Geographies of Sexualities (London: Routledge, 1995); David Harvey, Consciousness and the Urban Experience (Baltimore, MD: Johns Hopkins University Press, 1985); Edward Soja, Post-modern Geographies: The Reassertion of Space in Critical Social Theory (London: Verso, 1989). 4 See for example Matt Cook, London and the Culture of Homosexuality, 1885–1914 (Cambridge: Cambridge University Press, 2003); Morris B. Kaplan, Sodom on the Thames: Sex, Love, and Scandal in Wilde Times (Ithaca, NY: Cornell University Press, 2005); H. G. Cocks, Nameless Offences: Homosexual Desire in the 19th Century (London: Tauris, 2003); Mark W. Turner, Backward Glances: Cruising the Queer Streets of New York and London (London: Reaktion, 2003). 5 See for example Diana Maltz, ‘Engaging “Delicate Brains”: From Working-Class Enculturation to UpperClass Lesbian Liberation in Vernon Lee and Kit Anstruther-Thomson’s Psychological Aesthetics’, in Women and British Aestheticism, ed. by Talia Schaffer and Kathy Alexis Psomiades (Charlottesville: University of Virginia Press, 1999), pp. 211–29. 6 Oscar Wilde, The Picture of Dorian Gray, ed. by Joseph Bristow (Oxford: Oxford University Press, 2008), p. 114; ‘Manliness in Music’, The Musical Times, 30 (August 1889), 460-461 (p. 461); E. M. Forster, Maurice, ed. by P. N. Furbank (London: Penguin, 2005), p. 28. 7 Matthew Potolsky, The Decadent Republic of Letters: Taste, Politics, and Cosmopolitan Community from Baudelaire to Beardsley (Philadelphia: University of Pennsylvania Press, 2013). D ow naded rom http/academ ic.p.com /jvc/advance-article-ai/10.1093/jvcult/vcaa016/5857861 by gest on 18 June 2020 Queer Music in the Queen’s Hall • 3 urbane repartee redolent of Wilde’s dialogues, evocative descriptions of nocturnal cityscapes drawing on Zolaesque naturalism, and stock pornographic episodes that follow well-worn patterns in nineteenth-century erotic literature. What distinguishes the text is its fascinating representations of emergent forms of modern homosexual identity, and of the distinctive aesthetic and social practices of queer sub-communities at the close of the nineteenth century. Recent discussion of Teleny has begun to examine the significance of the novel’s representation of urban locales that were associated with non-normative sexual identities. Drawing parallels with Wilde’s The Picture of Dorian Gray, Matt Cook situates Teleny in a West End that is ‘not merely fashionable’ but replete with ‘other associations for those familiar with London’s homoerotic history’.8 Colette Colligan shows a similar sensitivity to the historical resonance of geography in her examination of the novel’s material history, in which the location of publishers and bookshops associated with Teleny’s dissemination are understood to interact with the ‘topography of desire’ inherent in the text itself.9 The discussion that follows examines the novel’s engagement with geographical space in three distinct ways. Firstly, it locates the musical performances in the text in the precise built environment of London’s Queen Hall in order to demonstrate Teleny’s dynamic engagement with cosmopolitan cultural exchange between London and Paris. Secondly, it examines the significance of space in the novel’s presentation of musical listening, arguing that its focus on the materiality of sound and the haptic transmission of desire responds to sexological conceptions of embodied musical response by pathologized homosexual subjects. Thirdly, it traces the signifi

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女王音乐厅的酷儿音乐：世纪末的 Teleny 和颓废音乐地理

本文探讨了 Teleny 中音乐和音乐表演的重要性，即奖章的背面（1893 年），这是一部被一些学者认为是奥斯卡·王尔德（Oscar Wilde）所著的匿名色情小说。它利用维多利亚时代晚期音乐会场地、酷儿文学亚文化和性学的历史资料来阐明文本中音乐空间的表现。Teleny 有两种不同的版本：一种以巴黎为背景的英文文本和一种以伦敦为背景的法语文本。文章的开头部分表明，通过将小说中的音乐表演置于伦敦女王大厅的精确建筑环境中，Teleny 与巴黎和伦敦之间的国际化文化交流的动态参与得到了更清晰的关注。第二部分探讨了小说对酷儿地理（东方，东欧）在其他关于该时期音乐和同性恋身份的文本的背景下。第三部分考察了空间在小说音乐聆听呈现中的重要性，认为它对声音的物质性和欲望的触觉传递的关注是对同性恋主体体现的音乐反应的性学概念的回应。根据萨拉·艾哈迈德 (Sara Ahmed) 的“酷儿现象学”理论，可以理解这种听觉感官体验的重要性。最后，文章追溯了弗朗茨·舒伯特 (Franz Schubert) 歌曲的音乐典故的重要性，以展示它们如何构成小说对同性欲望的空间表达和酷儿城市地理表征的更广泛关注的一部分。关键词 : 音乐, 同性恋, 性学, 色情, 颓废, 触摸, Teleny 提供了一个有用的案例研究，以更广泛地展示酷儿音乐地理空间动态在世纪末文化中的重要性。文化地理学家和建筑理论家已经证明，体验 1 斜体原文。Teleny 的招股说明书，引用自 Peter Mendes，英语的秘密色情小说，1800-1930：书目研究（Aldershot：Scolar Press，1993），p。252. 2 Edward Prime-Stevenson [Xavier Mayne], The Intersexes: A History of Similisexualism as a Problem in Social Life ([np]: 私人印刷, 1908), p。395. 这是一篇根据知识共享署名许可 (http://creativecommons.org/licenses/by/4.0/) 条款分发的开放获取文章，它允许在任何媒体中不受限制地重复使用、分发和复制，只要原著被正确引用。维多利亚文化杂志，2020，卷。XX, No. XX, 1–16 doi: 10.1093/jvcult/vcaa016 原始文章 D ow naded rom http/academ ic.p.com /jvc/advance-article-ai/10.1093/jvcult/vcaa016/58578611 on gest 2020 年 6 月 2 • 女王大厅中的酷儿音乐构成了个体和共享的主体性概念。3 许多研究探讨了世纪末伦敦酷儿性行为场所和空间的重要性——来自海德公园到杰​​明街、皮卡迪利广场到苏荷广场。4 学者们还研究了维多利亚时代艺术画廊和博物馆中审美遭遇的酷儿色情。5 然而，很少有人关注表演西方艺术音乐的空间的酷儿地理。渴望的主题居住空间的方式是理解世纪末酷儿音乐亚文化形成的核心：从奥斯卡王尔德的多里安在序曲中听到的封闭“歌剧院的盒子”到瓦格纳的坦豪泽尔的“演示”他自己灵魂的悲剧”，到“一群苍白的业余爱好者”经常光顾的国内音乐沙龙。. . 没有任何男子气概的活力或勇气”，在剑桥大学卧室的隐私中，EM Forster 的 Maurice 和 Clive 在其中聆听柴可夫斯基第六交响曲（Pathétique）的钢琴卷。6 这样的音乐空间塑造了以转变为标志的酷儿聆听实践接近和距离、形式和亲密、隐私和披露的模式。Teleny 是为复杂的国际化小圈子读者设计的文本，提醒其频繁的文化典故对音乐和其他艺术的奇怪影响。它假设它的读者参与了马修波托尔斯基所说的“颓废的文学共和国”的共同解释动力：一个通过高度自觉的审美消费的共同实践维持的读者社区。 7 小说的叙事侧重于一个卡米尔·德·格里厄（Camille Des Grieux），一个自觉的颓废美学家，和勒内·泰勒尼（René Teleny），一位惊人美丽的匈牙利演奏家钢琴家之间注定的爱情。通过德格里厄和后来的情人之间的对话叙述，文本叙述了一系列情节性的性接触，涉及中心主角和许多其他次要角色。小说的开头讲述了他们的第一次见面，德格里厄在那里听着泰勒尼的独奏会而陶醉。随着他们恋情的进展，德格里厄越来越觉得被泰勒尼忽视，越来越相信这位钢琴家的不忠。在危机的最后时刻，德格里厄意识到泰勒尼一直与美学家的母亲有染。暂时陷入歇斯底里的疯狂，他恢复了知觉，却发现泰勒尼已经结束了自己的生命。这部小说是一种通用的混合体：它包含的情节让人想起维多利亚时代最轰动的小说，3 例如参见亨利·勒菲弗尔 (Henri Lefebvre)，《现代世界的日常生活》，反式。作者：Sacha Rabinovitch（新泽西州新不伦瑞克省：Transaction Books，1990 年）；David Bell 和 Gill Valentine，编辑，映射欲望：性地理学（伦敦：劳特利奇，1995 年）；David Harvey，《意识与城市体验》（马里兰州巴尔的摩：约翰霍普金斯大学出版社，1985 年）；Edward Soja，后现代地理学：批判社会理论中空间的重申（伦敦：Verso，1989 年）。4 例如见马特库克，伦敦和同性恋文化，1885-1914（剑桥：剑桥大学出版社，2003）；莫里斯 B. 卡普兰，《泰晤士河上的索多玛：王尔德时代的性、爱和丑闻》（纽约州伊萨卡：康奈尔大学出版社，2005 年）；HG Cocks，无名罪行：19 世纪的同性恋欲望（伦敦：Tauris，2003 年）；Mark W. Turner, Backward Glances: Cruise the Queer Streets of New York and London (London: Reaktion, 2003)。5 例如参见 Diana Maltz，“Engaging “Delicate Brains”：Vernon Lee 和 Kit Anstruther-Thomson 的《心理美学》中的从工人阶级文化到上层女同性恋解放，《女性与英国美学》编辑。作者：Talia Schaffer 和 Kathy Alexis Psomiades（夏洛茨维尔：弗吉尼亚大学出版社，1999 年），第 211-29 页。6 奥斯卡王尔德，《道林格雷的画像》，编辑。作者：Joseph Bristow（牛津：牛津大学出版社，2008 年），p。114; “音乐中的男子气概”，音乐时代，30（1889 年 8 月），460-461（第 461 页）；EM 福斯特，莫里斯，编辑。作者：PN Furbank（伦敦：企鹅出版社，2005 年），p。28. 7 Matthew Potolsky，《颓废的文学共和国：从波德莱尔到比尔兹利的品味、政治和大都会社区》（费城：宾夕法尼亚大学出版社，2013 年）。Dow naded rom http/academ ic.p.com /jvc/advance-article-ai/10。1093/jvcult/vcaa016/5857861 by gest 2020 年 6 月 18 日 女王大厅的酷儿音乐 • 3 位温文尔雅的配音让人想起王尔德的对话，对利用 Zolaesque 自然主义的夜间城市景观的令人回味的描述，以及 19 部经典的色情剧集-世纪色情文学。使文本与众不同的是它对现代同性恋身份的新兴形式以及 19 世纪末酷儿亚社区独特的美学和社会实践的迷人表现。最近对 Teleny 的讨论已经开始研究小说对与非规范性身份相关的城市地区的表现的重要性。与王尔德的《道林·格雷的画像》相提并论，马特·库克 (Matt Cook) 将泰勒尼 (Teleny) 置于“不仅时尚”而且“为熟悉伦敦同性恋历史的人提供其他联想”的西区。8 科莱特·科利根 (Colette Colligan) 在检查小说材料时表现出对地理历史共鸣的类似敏感性历史，其中与 Teleny 的传播相关的出版商和书店的位置被理解为与文本本身固有的“欲望地形”相互作用。9 接下来的讨论以三种不同的方式检查了小说与地理空间的接触。首先，它将文本中的音乐表演定位在伦敦女王音乐厅的精确建筑环境中，以展示 Teleny 与伦敦和巴黎之间的国际化文化交流的动态参与。第二，它检验了小说对音乐聆听的呈现中空间的重要性，认为它对声音的物质性和欲望的触觉传递的关注是对病态同性恋主体所体现的音乐反应的性学概念的回应。第三，它追溯了意义