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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

The second topic in this chapter is another work of Plato, and once again a deep context is needed to interpret what the mention of f/f sex actually means for Greek realities. The Laws takes the form of a conversation between three men about what laws are needed for the governance of the ideal city. This is a different take than the one Plate put forth in the Republic. The Republic was more of an idealized thought experiment. The Laws is more of an exhaustive, practical plan of action (but still a purely hypothetical document).

One of the more intriguing classical Greek texts that includes f/f erotics is the mythological narrative included in Plato’s Symposium about divided beings and eros being “seeking one’s other half.” Following Boehriner’s standard approach, she begins by examining the historic and literary context of the work and discussing what the purpose of the passage is within that larger context.

We now turn to the non-poetic sources from the Archaic era. We start with a painted plate from circa 620 BCE from the island of Thera. It shows two female figures facing each other, each holding a garland. One is touching the other’s chin, otherwise the figures are symmetric and show an equal interaction in their postures and gazes. This contrasts with the use of the same tropes for m/f or m/m couples where there is an asymmetry (in m/m couples, the person doing the chin-touching is always an older man and the one being touched is younger).

Introduction: Scope

I forgot to include this last bit of the introductory material. The author discusses the scope of the work and the nature of the evidence. The late cut off is to exclude Christian texts. But the types of data vary across the scope and this corresponds to different attitudes towards f/f sex. So the analysis can’t entirely be a comparison across eras or a clear picture of development over time.

Chapter 1: Myth and Archaic Lyric Poetry

Front Matter

Preface to the English Translation

The author discusses the reception of the original 2007 text and sexist/homophobic responses from even the French publisher who put it out, attacking the very concept of academic gender and sexuality studies—a reaction out of line with French academic traditions.

[Note: In a curious echo of centuries of cultures always attributing lesbianism to “foreign” influences, certain voices within the culture that produced Foucault derided sexuality history as an American contamination.]

This is an encyclopedia-style collection of texts that speak to specific topics in the history of sexuality. It is far from exhaustive, either in intent or execution, but rather picks specific works to use as discussion or thinking points. It was compiled for use as a set of study texts for a college course on the history of sexuality and that purpose can be seen in the inclusion of study questions after each text.

Part 1: Dreaming of One’s Pleasures

This section examines Artemidorus’s book The Interpretation of Dreams--the only work of the (classical) period that systematically addresses different sexual acts. It’s the only survival of what was once an extensive literature of dream interpretation and was intended as a practical manual. [Note: One might say that professional dream interpreters were the psychoanalysts of the day.] Artemidorus also presented a theoretical argument for the validity of the field of dream interpretations.

This is a publications survey essay, talking about recent (as of 2000) publications on the topic of women in classical antiquity. It starts by noting that a similar survey in 1976 found it possible to survey the entire topic in the form of a half-dozen or so publications, and that the current state of the field is much more satisfactory.

Stigers responds to several topics touched on in Hallett’s consideration of Sappho’s poetic voice and persona with respect to her personal life. It is acknowledged that special care must be taken when considering a poet writing in the first person. The poetic voice may be generalized or fictionalized or it may in fact represent the poet’s own experiences and emotions.


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