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Gustav Yegorov
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The surge of AIDS into Brazil's female population is revealing the hidden bisexual tendencies among many Brazilian males, said Dr. Parker, who is director here of the Brazilian Interdisciplinary AIDS Association, and other AIDS experts in the region.

In Brazil, surveys show that men are aware of the AIDS threat, but are reluctant to use condoms, currently the most effective barrier to virus transmission during sex. In Rocinha, Rio's largest slum, 77 percent of sexually active male respondents to a survey said they never used condoms.

A recent survey of female prostitutes in Sao Paulo found that 90 percent of those who use condoms also use lubricant creams that leave latex porous to the virus that causes AIDS. A separate study of 500 male prostitutes in Rio in 1990 found that two-thirds were infected with the virus.

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Intersex: A person whose bodily or hormonal sex characteristics cannot be categorized as male or female. This may be due to external differences in genitalia, hormonal conditions, such as androgen, or insensitivity syndrome or chromosomal variance. Do not use hermaphrodite.

Political Correctness: Relating to or supporting broad social, political, and educational change, to redress historical injustices in matters such as race, class, gender, sexual orientation, and ability. In practice, people attempting political correctness try to avoid offending others by taking measures or using language they perceive as safe. At the root of political correctness are compassion, respect, and empathy.

In Part I, "Choreographing Lust: Go-Betweens for Sexual Conquest," Mieszkowski suggests that narratives of going between for lust lack a moderate vision of women: they present women either as vicious to the point of being "demonized" or as ideal in their "ultrasubmissive" attitudes toward the men involved (10). The go-between for lust is often the "demonized" character: she is usually a sexually repulsive old woman who boasts a past repertoire of sexual exploits and who now uses her cleverness and astute business sense to extort money in exchange for sex (10). The function of this go-between is to orchestrate the violation of an innocent, na?ve, and "ultrasubmissive" young woman, a violation which is often considered in terms of male property rights. Mieszkowski suggests that feminist criticism, with its understanding of the ideological and discursive constructions of gender and body, offers the most profitable approach to analyzing these "highly gendered" and "misogynist" texts (10).

In concluding her summary of the Rose, she argues that the struggle of feminist scholars is to "hear whatever traces of [a woman's voice] might be lodged in male writings," and that the strong voice of La Vieille might tempt women "to claim some part of [her] for their own" (66). The conclusion of Part I subsequently turns away from the characterization of the go-betweens for sexual conquest toward a reiteration of the feminist contribution to the analysis of these kinds of texts. Mieszkowski draws on Anne Laskaya's work on medieval legends of long-suffering women, for example, in order to argue that the "submissive, violated women" in Gower's Confessio Amantis represent masculine ideals of femininity (74), and she bases her analysis of Boccaccio's Decameron and the fifteenth-century Le Roman du comte d'Artois (1453-67) on Adrienne Munich's suggestion that feminist readings should search for women's "implied power in texts that submerge it" (74). The renewed prominence of the feminist critical approach at the conclusion of this first section carries forward into the next section, "Choreographing Love: Idealized Go-Betweens."

Part II presents summaries of various romance texts, but Mieszkowski's analysis of these texts is less concerned with characterizing the go-betweens and more with discovering whether these texts avoid misogyny and "empower female audiences" (82). In analyzing the romance Cligés, Mieszkowski concludes that because Soredamors exhibits timidity and self-effacement in revealing her passions, she "is surely not an empowering voice" (85). When she presents the Prose Lancelot, however, Mieszkowski seems to change her mind about what constitutes an empowering voice. She suggests that Lancelot's "abject suffering" and "weakness" in fact "expresses...his enormous capacity to love," in comparison with which Guinevere becomes merely "an ordinary lover" (94). In a strange reversal, Mieszkowski concludes, Guinevere's ostensible superiority to Lancelot is actually an indication of her inferiority as a lover; the woman who would seem to have an "empowering voice" turns out to be insufficient (94). Only in the romance William of Palerne does Mieszkowski find a woman whose voice is "potentially empowering" (89). The difficulty with her analysis in this section is its apparent subjectivity; because Mieszkowski never gives the reader a sense of what, exactly, an "empowering" female voice might sound like, her search for such a voice seems to be conducted without a definitive set of criteria.

In spite of shifting the presentation and analysis away from the nature of the go-between and toward the search for an "empowering" female voice in the first two sections, Part III, "Choreographing Lust and Love: Chaucer's Pandarus," is useful in highlighting the indebtedness of the character of Pandarus to these two traditions of going between. Indeed, because it "sustains the meanings" of both of the go-between traditions simultaneously, Mieszkowski argues that Troilus and Criseyde is, in fact, without genre (138). Pandarus' involvement in the relationship between Troilus and Criseyde bears striking similarity to that of go-betweens who procure sex for money: he aggressively courts Criseyde for Troilus, orchestrating elaborate deceptions in order to bring their relationship to consummation. At the same time, Pandarus also resembles the idealized love go-between: his close relationship with both Troilus and Criseyde should mean that his interference is motivated out of care and concern for their well-being and happiness. At all the critical moments, however, Chaucer forces these two aspects of his go-between into the same textual space, compelling the reader to acknowledge the ambiguity of his character and his role in the story; for example, Mieszkowski suggests that the consummation scene (and Pandarus' intrusive presence in it) is particularly designed to produce an ambiguity that is irresolvable. 041b061a72


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