Here is the key scene from the piece that is being analyzed.
Classical Era
This tag is used to indicate the eras dominated by Greek and Roman civilization. In regions where those cultures had no influence, consider it to indicate roughly 1000 BCE to the early centuries of the Common Era. If a more specific date in the Common Era is known, that will be used.
LHMP entry
David M. Halperin -- Halperin focuses specifically on the social and historic context of varieties of sexual activity in ancient Greece and takes the position that Brooten fundamentally misunderstands the nature of Greek sexual hierarchies and of the institution of pederasty (in its ancient Greek sense).
This article looks at the disconnect between Roman literary considerations of female homosexuality and their everyday reality. The period covered is the 2nd century BCE through the 2nd century CE. Various mythic origins were attributed to homosexual desire. One example is the story of how a drunken Prometheus , when creating humans from clay, attached sexual organs to the “wrong” bodies, thus creating individuals whose internal preferences were counter to their external organs.
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.]
Greene contrasts the asymmetrical, hierarchical way that desire is structured in male-centered relationships in ancient Greek literature with the reciprocal, mutual structure seen in several of Sappho’s poems about desire between women. The strict definitions of active, dominant, older and/or male erastes and passive, subordinate, younger and/or female eromenos are pervasive in art and literature. Sappho’s work disrupts this structure not simply by positioning a woman as the active agent, but in envisioning a response from the beloved that mirrors the lover’s agency.
Chapter 2: Inseparables
While the Inseparable motif sometimes employs a male character to bridge the practical logistics of forming a female couple, it is more natural for a triangle of this sort to frame the man and woman as rivals for their shared object of desire. Sappho’s fragment 31 encapsulates the envy of a woman for the man who has the attention of the woman she loves. And in contrast to the common motif of-two men competing for a woman's love, when one of the rivals is a woman there is always an awareness that the playing field is badly uneven.
The introduction begins with a contradiction that inspires the book’s title. In twenty years of correspondence between Queen Anne and Sarah Churchill, the Duchess of Marlborough (who were famous for their close and loving friendship), the two closed letters with phrases in which the words “passionate” or “passionately” figured prominently. And yet a comment by Sarah regarding a somewhat scandalous pamphlet described it as including “stuff not fit to be mentioned of passions between women”. Did the word “passion” have distinct and separate meanings in these two contexts?
Early modern Europe had quite a fondness for encyclopedic works that defined and classified the entire known world (and much that was imaginary). Theodor Zwinger (1533-1588) wrote Theatrum vitae humane (Theater of Human Life) in something of a biographical dictionary form, in groupings according to the characteristic that provided their fame. Under the section “Tribades” he notes “Here we say nothing which has not been said before, and collect only a few items.
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