Ellis Hanson, for instance, writes that Newman and Froude clearly "presented a challenge to Victorian gender norms", but "Faber's reading of Newman's sexlessness and Hurrell Froude's guilt as evidence of homosexuality" seems "strained". When John Campbell Shairp combines masculine and feminine imagery in his highly poetic description of Newman's preaching style at Oxford in the early 1840s, Frederick S. Roden is put in mind of "the late Victorian definition of a male invert, the homosexual: his (Newman's) homiletics suggest a woman's soul in a man's body". Roden, however, does not argue that Newman was homosexual, seeing him rather—particularly in his professed celibacy—as a "cultural dissident" or "queer". Roden uses the term "queer" in a very general sense "to include any dissonant behaviours, discourses or claimed identities" in relation to Victorian norms. In this sense, "Victorian Roman and Anglo-Catholicism were culturally queer". In Newman's case, Roden writes, "homoaffectivity" (found in heterosexuals and homosexuals alike) "is contained in friendships, in relationships that are not overtly sexual".