1-1. From answers to questions

Words words words
From theology to sexology

1-2. Drives and complexes

Freud's theory
Evolution of psychoanalysis

1-3. From anamnesis to questionnaire

Alfred Kinsey
Modern mass polls
Issues of theory and methodology. The problem of bisexuality

1-4. Genes, hormones and the brain

Homosexual behavior in animals
Homosexuality in the light of evolutionary biology
Endocrinology and neurophysiology
In search of the homosexual gene
Sex, gender and sexuality

1-5. Diagnosis of fate and fate of diagnosis

To treat or not to treat?
Cancellation of diagnosis
Homosexuality and mental health
Special opinion of Russian psychiatry
From text to context.

From biology to human sciences
Social constructivism
Queer theory

Part 2

THROUGH SPACE AND TIME

2.1. Same-sex love as a cultural phenomenon

Ethnography of same-sex relationships

Homosociality and homoeroticism

Homosexuality in male initiations

People of the "third gender"

2-2. By country and continent

Forward East

India

Ancient Israel

Islamic world

China

Japan

American civilizations

2-3. "Greek love"

Gods and heroes

Origin of ancient Greek pederasty

Male love in classical Greece

Homoeroticism in the visual arts

Pedagogical eros or sexual exploitation?

Lesbian love

Same-sex love in ancient Rome

Homoeroticism in Roman literature

2-4. Christian Europe

Sin of Sodom
Same-sex love among knights

MonasteriesPersecution of sodomites"Beautiful Vice"Kings and minions

Homoeroticism in English Literature. Shakespeare.

Molly and the Libertines

2-5. " Love that dare not name itself"

Secularization of sodomy

Same-sex love and Enlightenment philosophyFrom feudal law to bourgeois law Byron Equality of rights and homophobia

Love or friendship?Hellenization of same-sex lovePrivileged schoolsJohn Addington Symonds

Aestheticism and prose of life

Medicalization of same-sex loveFrom Emerson to WhitmanWilde's process

Homosexual scandals in Germany
Bloomsbury CircleSame-sex love in French literature Marcel Proust Andre Gide

Jean Cocteau Homosexual culture in Germany Thomas Mann Fascist genocide

2-6. Doubly invisible

2-7. All the colors of the rainbow

Termination of criminal prosecution

Homophobia and heterosexism

From underground to culture

Homosexual theme in cinema

Homophile movement in the USA

Stonewall and the radicalization of the homophile movement

Sexual revolution and counterculture

AIDS and its social consequences

The fight for civil equality

Separation or integration?

2-8. In native land

Church law and folk culture

High life and school adventures

Homoeroticism in Russian literature

Criminalization and medicalization

P. I. Tchaikovsky

Mikhail Kuzmin and friends of Gafiz

Sergei Diaghilev

Zinaida Gippius

Lesbian love

Tsvetaeva and Parnok

Under the shadow of the Criminal Code of the RSFSR

Repeal of Article 121 State of public consciousness

Socio-political activity of gays and lesbians Yankee

Part 3
ME AND OTHERS

3-1. Finding myself

How did I become like this?

Feeling different

Parents and peers

"The exotic becomes erotic"

Puberty and imagery

Sex games

Homoerotic friendships and loves

First sexual experience - seduction or fulfillment what's your dream?

Become yourself

Male and female development trajectories

Who should I open up to today?

Teen suicide

3-2. Group portrait without interior

Socio-demographic profile

Psychological profile

Gay Sensitivity

Sexy profile

Same-sex couples

Couples of different ages

"Blue" parents

Aging

Gays and women

3-3. "Blue" erotica

Homoerotic imagination

Psychological characteristics of male same-sex love

Homosexual sight and the poetics of the male body

The artist and his work

Sexual criteria attractiveness

Penis cult

"Icons" of the homosexual imagination

Androgynes and impersonators

Androphiles and boylovers

Homosexual practices

Masturbation and partner sex

Oral sex - fellatio

Anal sex

Bondage and discipline

Virtual sex

3-4. Heirs of Sappho

The future of same-sex love

Having created his own ballet troupe, Diaghilev received new opportunities to choose beautiful and talented lovers, whom he not only helped to make a career, but literally shaped them personalities 47 . Diaghilev's erotic preferences were strictly programmed; he was only attracted to very young people. His famous dancer lovers - Vaslav Nijinsky, Leonide Massine, Anton Dolin, Sergei Lifar - came to him at 18 years old, and his latest passion - composer and conductor Igor Markevich - at 16 years old. Powerful, intolerant and at the same time shy (he was embarrassed about his body and never undressed on the beach), Diaghilev did not waste time on courtship. Having invited the promising young man to his hotel, he immediately charmed him with his imperious manners, the richness of his furnishings and the prospect of a brilliant career. His charm and pressure were so strong that young people simply could not resist. Massine, who did not want to leave Moscow, came to Diaghilev a second time with a firm decision to reject the offer to join Diaghilev’s troupe, but, to his own surprise, instead of “no” he answered “yes”. None of these young men experienced erotic attraction to Diaghilev. Massine and Markevich, apparently, were heterosexuals, Nijinsky, before meeting Diaghilev, was the lover of Prince Lvov, and was more afraid of Diaghilev than loved. It was incredibly difficult to work and live with Diaghilev. He could be rude in public, was distinguished by pathological jealousy (Lifar called him “Otellushka”), jealous of his favorites both women and men, including his own friends, and demanded unconditional submission in everything. This concerned not only creative problems. As soon as Lifar did not put on the hat Diaghilev gave him, he publicly shouted at him: “What? Doesn't she suit you? Are you saying that I have no taste, that I don’t know my craft? Get out of my sight, you worthless puppy!” However, he gave his lovers not only position and roles, which they certainly deserved, but for which there is fierce competition in any troupe. Having brought the young man closer, Diaghilev took him with him to Italy, took him to concerts and museums, shaped his artistic taste and revealed his hidden talents, unknown to himself. Since Diaghilev himself was neither a dancer nor a choreographer, there could be no professional rivalry between him and his students, and they received a lot from him, and for the rest of their lives. And although after several years life together and work, their relationship usually cooled or ended in a break (as was the case with Nijinsky and Massine), young people remembered Diaghilev reverently (the exception was Nijinsky, who suffered from a serious mental illness from his youth; leaving Diaghilev, which seemed to him liberation, in fact exacerbated his mental difficulties).