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Greece

Covering the region equivalent to modern Greece in south-eastern Europe, but also the larger scope of Greek-speaking cultures, especially in the Classical period.

LHMP entry

This is a study, not so much of Sappho the person, but of her lyrics, particularly an interpretation of them in the context of homoerotic desire. The book takes a detailed look at all the poems and fragments known at the time of publication, both in the original Greek and with a closely annotated translation apparatus. It takes a philological approach influenced by women’s studies and gay and lesbian studies. The book does not assume a familiarity with ancient languages but embraces those that do have that familiarity.

It makes most sense simply to list the bits of evidence that Dover discusses. He is largely providing a catalog, with very detailed citations of sources, but without the in-depth discussion of context and interpretation that we say, for example, in Lardinois 1989 with respect to Sappho.

The association of the name Sappho and the word Lesbian with female homoeroticism is so well entrenched that the question is rarely asked: what evidence do we have that Sappho was a lesbian (in the orientation sense, rather than the geographic one)? And how would such an orientation have been understood in her age and culture? Lardinois addresses these questions from empirical (if scanty) evidence.

The revival of interest in, and knowledge of, the works and life of Sappho as part of the general revival of classical culture in the Renaissance created a major context for discussing female homoeroticism, although the myth of Sappho’s abandonment of women for a fatal desire for Phaon was also popular.

Chapter 1 (Introduction)

A discussion of terminology, some of the cross-cultural problems of defining the topic of the book, and a statement of intent.

Chapter 2 (In the Beginning: 40,000-1200 BCE)

Interpreting the meaning and context of Greek pottery art is far from straightforward. The modern framing as valuable “fine art” is to a large extent a by-product of the antiquities trade and it must be remembered that these vessels were originally created as a cheap imitation of fine metal utensils and, as such, might reasonably be viewed as “pop culture” works rather than the products of an artistic elite. These views make quite a difference in interpreting the depictions of women and their interrelationships with each other.

Although honoring the dead was a duty of Athenian citizens (i.e., men), the rituals of mourning and the work of tending to graves largely belonged to women. And an analysis of tombstones from the most important cemetery of 5-4th century Athens shows that women were more commonly featured on memorial carvings as well. Carved tomb markers frequently depict two or more figures: the deceased and persons who presumably were important in their life or who wished to be depicted as mourners.

Skinner examines the relationship between female poetic inspiration and the homoerotic implications of a female poet with a female muse. Although the article opens with a consideration of modern discussions of the concept of poetic muse and the implications of gendering this imagined relationship, the heart of her paper concerns the Greek poets Sappho and Nossis and the ways they portray their relationship to inspiration in the form of Aphrodite, the goddess of love, and secondarily to the nine Muses.

Pages

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