This is an extensive study of Roman art depicting sexual activity, much of it overtly pornographic. Of the entire (enormous) corpus of material, Clarke has only identified two images that may depict or imply sexual activity between women. Both are part of a series of wall paintings at the Suburban Baths in Pompeii (ca. A.D. 62-79), and the physical condition of the paintings makes interpretation difficult and uncertain.
sexual techniques
This tag is used for any discussion of specific techniques for erotic stimulation. See also specific techniques.
LHMP entry
The themes of this set of selections might be: the re-discovery of Sappho, men lamenting that women who love each other aren’t available for them, and the use of queer-baiting for socio-political purposes. The significance of the suppression and erasure of women’s own voices from the record is seen in the one item known to have been written by a woman, which presents a positive and personal view of same-sex love. We also continue the literary motif of same-sex desire being due to confusions caused by gender disguise.
This is Brown's initial discussion of the material published two years later as:
Brown, Judith, C. 1986. Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. Oxford University Press, New York. ISBN 0-19-504225-5
I. Dramatic Constructions of Female Homoeroticism
The book opens with what has become a familiar lament that the scholarly consensus spent entirely too long proclaiming that female homoeroticism was not attested in early modern literature (largely because no one was actually looking for it, or considering it of importance when they found it), but that the last decade or so has been beginning to remedy that misapprehension.
In this chapter, Traub looks at medical views of female erotic pleasure, the understanding of orgasm, and the “rediscovery of the clitoris”. She opens with the story of the Spaniard Catalina de Erauso who dressed and passed as a man through many adventures both in Spain and the New World, but returned to living as a woman when convicted of murder in order to escape execution. One key factor in her plea was her status as an “intact virgin”. This arbitrary physical state was considered the crucial attribute of “innocence” despite her admitted history of erotic encounters with women.
Haley looks at Lucian's Dialogues of the Courtesans, including his portrayal of women who sexually desired other women, from the context of queer theory and a consideration of male gaze versus representation. Given the more classically-oriented audience for this collection, she helpfully starts with an explanation of queer theory and the examination of sexual identity as a social and political construct. [I think this may be the first time I've encountered the use of "Pomosexual" in a non-ironic way.]
He calls grinding an “illness” and offers various possible causes, including having an “inverted womb” (a variant on the clitoral hypertrophy motif), or a mis-match between the shape of a woman’s vagina and the shape of the penis. Another possible cause he lists is the mother’s diet during breast-feeding. Some women pick up the habit from having sex with concubines. Another explanation is that grinding is a natural appetite, derived from a variant of humoral theory.
Chapter 4: A close reading of Aĥmad Ibn Yusuf Tifashi’s Nuzhat al-Albab - Toward re-envisioning the Islamic Middle East
Here Donoghue considers the literature that addresses sexual activity between women. In contrast to some claims, there are a number of home-grown English texts in this period that address non-penetrative sexual activities between women, and during the 18th century there seems to have been a regular dialog between French and English writing in this vein, with works in one language rapidly appearing in translation in the other.
This chapter covers various textual and visual works that can reasonably be interpreted as deliberately portraying same-sex activity for the purposes of titillation. One item of particular interest is Jeanne Mignon’s work “Women Bathing” (after Luca Penni, ca. 1540) which depicts a large group of naked women bathing together, some engaging in mutual stimulation. (The work matches in content very well with the picture mentioned by Brantôme as having been arousing to women who viewed it.)
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