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AbstractThe purpose of this article is to explore the nature of relationships among boys in classical colleges between 1870 and 1960 based on institutional archives, private letters and diaries, various publications and personal accounts from former students. It shows that relationships among men during this period took shape in a troubled space where the obsession with controlling their drives and the fear of homosexuality kept in check the friendship and sensitivity that were otherwise valued by certain aspects of humanistic education. This tension between competing values was especially apparent between 1930 and 1960 as the condemnation of special friendships increased. During this period in particular, peer influence exerted pressure in favour of manly achievements to which the female, as the inferior gender, acted as a foil.
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SummaryCarl Bouchard's self-portraits are fictitious, emotional mise en scènes, in which the laying bare of the body corresponds to the laying bare of feelings. Bouchard is a multi-disciplinary artist, and his works draw upon performance, photography, and installation. More than a simple propensity to maintain a gaze on oneself, his transgressive images of needy people demand affection as an aptitude for commitment, authenticity, self-surrender. More precisely, they deal with the responsibility borne by each individual for how we look at others.