femininity

8, came out in 1972 and introduced the ill-fated movement known as Effeminism, whose purpose it was "to urge all such men as ourselves (whether celibate, homosexual, or heterosexual) to become traitors to the class of men by uniting in a movement of Revolutionary Effeminism so that collectively we can struggle to change ourselves: from non-masculinists into anti-masculinists and begin attacking those aspects of the patriarchal system that most directly oppress us." The Effeminists published articles in Come Out!

Unfortunately, in Courthope's view, the universities with their Arnoldian belief in self-culture and st ress on the private pleasures of art (Courthope was shocked by the effeminism and aesthetic posturing in the prize essays he had to judge) had neglected to press the point that the aim of cultivating the arts was to promote "the health and well-being of the State" (p.