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A gay icon is a public figure (historical or present) who is embraced by many within lesbian, gay, bisexual and transgender (LGBT) communities. Some of the main qualities of a gay icon often include glamour, flamboyance, strength through adversity, and androgyny in presentation. Such icons can be of any sexual orientation or gender; if LGBT, they can be out or not. Although most gay icons have given their support to LGBT social movements, some have expressed opposition, advocating against a perceived "homosexual agenda". Historical icons are typically elevated to such status because their sexual orientation remains a topic of debate among historians. Modern gay icons, who are predominantly female entertainers, commonly garner a large following within LGBT communities over the course of their careers. The majority of gay icons fall into one of two categories: they are either tragic, sometimes martyred figures, or prominent pop culture idols. ==Historical== The earliest gay icon may have been Saint Sebastian, a Christian saint and martyr, whose combination of strong and shirtless physique, symbolic arrow-pierced flesh and rapturous look of pain have intrigued artists, both gay and straight, for centuries and began the first explicitly gay cult in the nineteenth century.〔 Journalist Richard A. Kaye wrote, "Contemporary gay men have seen in Sebastian at once a stunning advertisement for homosexual desire (indeed, a homoerotic ideal), and a prototypical portrait of tortured closet case." Due to Saint Sebastian's status as gay icon, Tennessee Williams chose to use the saint's name for the martyred character Sebastian in his play, ''Suddenly, Last Summer''. The name was also used by Oscar Wilde–as Sebastian Melmoth–when in exile after his release from prison. Wilde, an Irish writer and poet, was about as "out of the closet" as was possible for the late 19th century, and is himself considered to be a gay icon.〔(Vatican comes out of the closet and embraces Oscar ); Richard Owen, The Times; January 5, 2007. Retrieved October 14, 2007.〕 Marie Antoinette was an early lesbian icon. Rumors about her relationships with women circulated in pornographic detail by anti-royalist pamphlets before the French Revolution. In Victorian England, biographers who idealized the Ancien Régime made a point of denying the rumours, but at the same time romanticised Marie Antoinette's "sisterly" friendship with the Princesse de Lamballe as–in the words of an 1858 biography–one of the "rare and great loves that Providence unites in death."〔 By the end of the 19th century, she was a cult icon of "sapphism." Her execution, seen as tragic martyrdom, may have added to her appeal. Allusions to her appearance were made in early 20th century lesbian literature–most notably Radclyffe Hall's ''The Well of Loneliness''–where the gay playwright Jonathan Brockett describes Marie Antoinettere and de Lamballe as "poor souls... sick to death of the subterfuge and pretenses." She had crossover appeal as a gay icon, as well, at least for French novelist, playwright, poet, essayist, and political activist Jean Genet, who was fascinated by her story. He included a reenactment of her execution in his 1947 play ''The Maids''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「gay icon」の詳細全文を読む スポンサード リンク
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