This article focuses on artistic and aesthetic practices within the idealist and symbolist movements of the late 19th century in France. It investigates how artists and art critics embraced androgynous imaginaries derived from Greco-Roman antiquity and the Platonic myth, transforming them into tools for social and sexual emancipation and giving rise to a proto-queer vision. An analysis of the art of Alexandre Séon, Odilon Redon, Jeanne Jacquemin, and Léonard Sarluis, in conjunction with the symbolist theories of Joséphin Péladan, Gabriel-Albert Aurier, and Émile Verhaeren, reveals an idealistic pursuit grounded in the union of the masculine and the feminine through the act of creation. Through the examination of artworks, contemporary critical discourse, and the personal correspondence of these art figures, this study posits that the androgyne serves as a heuristic model for a queer art history. The ideal androgyne, as theorized in Freud’s psychoanalytic writings, can function as a methodological paradigm in art studies as a tool for visualizing and conceptualizing homosexuality in art.

中文翻译：

---

象征主义双性同体：论原始酷儿愿景的起源


本文重点关注 19 世纪末法国理想主义和象征主义运动中的艺术和美学实践。它调查了艺术家和艺术评论家如何接受源自希腊罗马古代和柏拉图神话的雌雄同体的想象，将它们转化为社会和性解放的工具，并产生原始的酷儿愿景。对亚历山大·塞翁 (Alexandre Séon)、奥迪隆·雷东 (Odilon Redon)、珍妮·雅克明 (Jeanne Jacquemin) 和莱昂纳德·萨路易斯 (Léonard Sarluis) 的艺术的分析，结合约瑟芬·佩拉丹 (Joséphin Péladan)、加布里埃尔·阿尔伯特·奥里耶 (Gabriel-Albert Aurier) 和埃米尔·维尔哈伦 (Émile Verhaeren) 的象征主义理论，揭示了一种基于男性与女性结合的理想主义追求。通过创造行为展现女性气质。通过对艺术品、当代批评话语以及这些艺术人物的个人通信的考察，本研究认为雌雄同体可以作为酷儿艺术史的启发式模型。正如弗洛伊德精神分析著作中所阐述的那样，理想的雌雄同体可以作为艺术研究中的方法论范式，作为艺术中同性恋形象化和概念化的工具。