Higher Love: Elitism in the Pederastic Practice of Athens in the Archaic
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Clitophon's Challenge and the Aporia of Socratic Protreptic* Teruo Mishima
Clitophon’s Challenge and the Aporia of Socratic Protreptic* Teruo Mishima Before I discuss the text in detail, I would like to briefly sketch the main line of arguments in the Clitophon which I am going to take up, just for the sake of anamnēsis of the readers : In the opening scene Socrates speaks to Clitophon in the third person and tells him that he heard from somebody else that Clitophon, in his conversation with Lysias, has criticised Socratic diatribai (pursuits), whereas he has lavishly praised his synousia (association) with Thrasymachus. Taking Socrates’ words as a sort of disguised criticism or complaint, Clitophon answers that the story was only half true, because although he did on the one hand criticise Socrates, he also on the other hand highly praised him. Then, he explains to Socrates why he must take such an ambiguous attitude towards him. In the first half of his speech he focuses on the aspect of Socratic teaching which he admires unreservedly, namely Socrates’ protreptic speech towards virtues. Here he refers to a lot of Socratic dicta which remind us of well known passages in the early dialogues of Plato. By contrast, in the latter half Clitophon explains where his deep frustration with Socrates lies. He says that, being already converted by Socratic protreptic and resolved to pursue virtues, what he expects now from Socrates is “what comes next”, that is a detailed account of the essence of virtues to be acquired and a piece of concrete advice on how to acquire them. But to these - Clitophon complains - neither Socrates’ company nor Socrates himself gives any convincing answer. -
Faraone Ancient Greek Love Magic.Pdf
Ancient Greek Love Magic Ancient Greek Love Magic Christopher A. Faraone Harvard University Press Cambridge, Massachusetts London, England Copyright © 1999 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Second printing, 2001 First Harvard University Press paperback edition, 2001 library of congress cataloging-in-publication data Faraone, Christopher A. Ancient Greek love magic / Christopher A. Faraone. p. cm. Includes bibliographical references and indexes. ISBN 0-674-03320-5 (cloth) ISBN 0-674-00696-8 (pbk.) 1. Magic, Greek. 2. Love—Miscellanea—History. I. Title. BF1591.F37 1999 133.4Ј42Ј0938—dc21 99-10676 For Susan sê gfir Ãn seautá tfi f©rmaka Æxeiv (Plutarch Moralia 141c) Contents Preface ix 1 Introduction 1 1.1 The Ubiquity of Love Magic 5 1.2 Definitions and a New Taxonomy 15 1.3 The Advantages of a Synchronic and Comparative Approach 30 2 Spells for Inducing Uncontrollable Passion (Ero%s) 41 2.1 If ErÃs Is a Disease, Then Erotic Magic Is a Curse 43 2.2 Jason’s Iunx and the Greek Tradition of Ago%ge% Spells 55 2.3 Apples for Atalanta and Pomegranates for Persephone 69 2.4 The Transitory Violence of Greek Weddings and Erotic Magic 78 3 Spells for Inducing Affection (Philia) 96 3.1 Aphrodite’s Kestos Himas and Other Amuletic Love Charms 97 3.2 Deianeira’s Mistake: The Confusion of Love Potions and Poisons 110 3.3 Narcotics and Knotted Cords: The Subversive Cast of Philia Magic 119 4 Some Final Thoughts on History, Gender, and Desire 132 4.1 From Aphrodite to the Restless -
Alexander the Great and Hephaestion
2019-3337-AJHIS-HIS 1 Alexander the Great and Hephaestion: 2 Censorship and Bisexual Erasure in Post-Macedonian 3 Society 4 5 6 Same-sex relations were common in ancient Greece and having both male and female 7 physical relationships was a cultural norm. However, Alexander the Great is almost 8 always portrayed in modern depictions as heterosexual, and the disappearance of his 9 life-partner Hephaestion is all but complete in ancient literature. Five full primary 10 source biographies of Alexander have survived from antiquity, making it possible to 11 observe the way scholars, popular writers and filmmakers from the Victorian era 12 forward have interpreted this evidence. This research borrows an approach from 13 gender studies, using the phenomenon of bisexual erasure to contribute a new 14 understanding for missing information regarding the relationship between Alexander 15 and his life-partner Hephaestion. In Greek and Macedonian society, pederasty was the 16 norm, and boys and men did not have relations with others of the same age because 17 there was almost always a financial and power difference. Hephaestion was taller and 18 more handsome than Alexander, so it might have appeared that he held the power in 19 their relationship. The hypothesis put forward here suggests that writers have erased 20 the sexual partnership between Alexander and Hephaestion because their relationship 21 did not fit the norm of acceptable pederasty as practiced in Greek and Macedonian 22 culture or was no longer socially acceptable in the Roman contexts of the ancient 23 historians. Ancient biographers may have conducted censorship to conceal any 24 implication of femininity or submissiveness in this relationship. -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
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Psychology, Community & Health pch.psychopen.eu | 2182-438X Conference Abstracts Oral Presentations 1st International Conference on LGBT Psychology and Related Fields – Coming out for LGBT Psychology in the current international scenario (Lisbon, Portugal, 20-22 June 2013) Psychology, Community & Health, 2013, Vol. 2(2), 58±197, doi:10.5964/pch.v2i2.70 Published: 2013-6-10. This is an open access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Table of Contents Abstracts Overview.................................................................................................................................................................................. 58 Abstracts.................................................................................................................................................................................................. 69 Author Index............................................................................................................................................................................................ 195 Abstracts Overview A Cross-Cultural Study of the Positive and Negative Aspects of Being LGB.......................................................................................... 69 Jenna Marie Strizzi, Inmaculada Fernandez Agis, Raquel Alarcón Rodríguez, Tesifon Parrón Carreño -
Marathon 2,500 Years Edited by Christopher Carey & Michael Edwards
MARATHON 2,500 YEARS EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON MARATHON – 2,500 YEARS BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES SUPPLEMENT 124 DIRECTOR & GENERAL EDITOR: JOHN NORTH DIRECTOR OF PUBLICATIONS: RICHARD SIMPSON MARATHON – 2,500 YEARS PROCEEDINGS OF THE MARATHON CONFERENCE 2010 EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON 2013 The cover image shows Persian warriors at Ishtar Gate, from before the fourth century BC. Pergamon Museum/Vorderasiatisches Museum, Berlin. Photo Mohammed Shamma (2003). Used under CC‐BY terms. All rights reserved. This PDF edition published in 2019 First published in print in 2013 This book is published under a Creative Commons Attribution-NonCommercial- NoDerivatives (CC-BY-NC-ND 4.0) license. More information regarding CC licenses is available at http://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN: 978-1-905670-81-9 (2019 PDF edition) DOI: 10.14296/1019.9781905670819 ISBN: 978-1-905670-52-9 (2013 paperback edition) ©2013 Institute of Classical Studies, University of London The right of contributors to be identified as the authors of the work published here has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Designed and typeset at the Institute of Classical Studies TABLE OF CONTENTS Introductory note 1 P. J. Rhodes The battle of Marathon and modern scholarship 3 Christopher Pelling Herodotus’ Marathon 23 Peter Krentz Marathon and the development of the exclusive hoplite phalanx 35 Andrej Petrovic The battle of Marathon in pre-Herodotean sources: on Marathon verse-inscriptions (IG I3 503/504; Seg Lvi 430) 45 V. -
The Erotics of Imperialism: 5Th Century Literary Representations of Helen & Alcibiades
The Erotics of Imperialism: 5th Century Literary Representations of Helen & Alcibiades Sarah Elizabeth Gonzalez Submitted in Partial Fulfillment of the Prerequisite for Honors in The Classical Studies Department under the advisement of Kate Gilhuly May 2020 © 2020 Sarah Elizabeth Gonzalez Contents Acknowledgements………………………………………………………………………………..3 Introduction………………………………………………………………………………………..5 Eros Unleashed Translation Note………………………………………………………………………………….10 Chapter 1…………………………………………………………………………………………11 The Literary History of Helen Chapter 2…………………………………………………………………………………………40 Imperialistic Intent and Genre Play in Euripides’ Helen Chapter 3…………………………………………………………………………………………80 Political Eroticism in Book 6 of The History of the Peloponnesian War Conclusion……………………………………………………………………………………...121 Eros Interrupted Bibliography……………………………………………………………………………………135 2 Acknowledgements This thesis was a labor of love -- and not the chaotic love I discuss in this thesis! While I was piloting this thesis ship, there were numerous crew mates behind the scenes helping me keep this project afloat. Without you, this ship would not have reached the harbor with as much ease or grace. First, to my thesis committee: Kate Gilhuly, Carol Dougherty and William Cain. To my thesis advisor and volunteer life coach, Kate Gilhuly: Thank you for taking on this project with me, and for having faith in the final product from the very beginning. Under your supervision, I have grown as both an academic and an adult. I cannot envision my time at Wellesley without your guidance and friendship. To my second reader, Carol Dougherty: Thank you for your helpful insight and encouragement throughout the composition of this thesis. As a result of your mentorship over the years, I have learned to think boldly and challenge myself to proudly vocalize my thoughts. If I had not enrolled in your Beginning Greek course my first year, this thesis might have been very different. -
Bowliîo&Ebîstate University Library
THE DRAMATURGY OF LUDVIG HOLBERG'S COMEDIES Gerald S. Argetsinger A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1975 BOWLIÎO&EBÎ STATE UNIVERSITY LIBRARY © 1975 GERALD SCOTT ARGETSINGER ALL RIGHTS RESERVED il ABSTRACT This study first described Ludvig Holberg's dramaturgy and then identified the characteristics which • have engendered the comedies' continued popularity. All of the prior Holberg research was studied, but most of the understanding of the comedies came through the careful studying of the playscripts. Holberg's form was greatly influenced by the comedies of Moliere and the Commedia dell' Arte. The content and tone were influenced by the comedies of Ben Jonson and George Farquhar. Holberg wrote for, and was best liked by, the middle class. At first, scholars found his plays crass and inferior. But only twenty years after his death, the plays were accepted as the foundation of the Royal Danish Theatre’s repertory. Holberg created comic characters based upon middle class types. The characters’ speech is almost strictly everyday, Copenhagen Danish. Little was done to linguistically individualize speech except when it was an integral part of the satire of the play. Holberg was also adept at writing jokes. He was a master at creating comic situations. These situations give the characters a setting in which to be funny and provide a foundation for intrigues and other comic business. The visual aspects of the early productions were not important. After careful investigation, it was concluded that Holberg's plays did not succeed, as previous writings tend to assume, because of the "Danishness” of the characters. -
Tensions in the Greek Symposium Julia Burns Submitted in Fulfillment
Conflicting Desires and Unstable Identities: Tensions in the Greek Symposium Julia Burns Submitted in Fulfillment of the Prerequisite for Honors in Classical Studies May 2013 ©2013 Julia Burns I. Introduction The Greek symposium, or private drinking party, was a formal context for the consumption of wine, often accompanied by the enactment of ritual activities or other associated forms of entertainment.1 The tradition of symposia seems to have evolved from group feasts in the Archaic period and from the traditional gathering of hetaireiai in the late Archaic period.2 Generally, men would congregate in the andron of a private home and recline on kline for a night of drinking, singing or poetry composition, discussion, or other games.3 While meals that shared aspects of the Archaic symposium were held in public spaces in Athens by the fifth century, symposia remained the preserve of the elites: the aristocracy had a monopoly on sympotic symbolic capital, despite any popularizing elements of polis-wide feasting.4 The term “symposium” is often used synecdochically for the series of ritual activities that takes place over the course of a single gathering; however, it more accurately relates to the time when wine was consumed during a private party. If food was prepared before the drinking began, this meal, the deipnon, was a distinct and separate ritual element of the party.5 After the consumption of food, a hymn was sung in honor of the gods and libations were poured. At this point, the master of ceremonies, called the symposiarch, would decide the proper ratio at which 1 I would like to thank Kate Gilhuly for her support and invaluable comments on drafts of this paper. -
Rethinking Athenian Democracy.Pdf
Rethinking Athenian Democracy A dissertation presented by Daniela Louise Cammack to The Department of Government in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Political Science Harvard University Cambridge, Massachusetts January 2013 © 2013 Daniela Cammack All rights reserved. Professor Richard Tuck Daniela Cammack Abstract Conventional accounts of classical Athenian democracy represent the assembly as the primary democratic institution in the Athenian political system. This looks reasonable in the light of modern democracy, which has typically developed through the democratization of legislative assemblies. Yet it conflicts with the evidence at our disposal. Our ancient sources suggest that the most significant and distinctively democratic institution in Athens was the courts, where decisions were made by large panels of randomly selected ordinary citizens with no possibility of appeal. This dissertation reinterprets Athenian democracy as “dikastic democracy” (from the Greek dikastēs, “judge”), defined as a mode of government in which ordinary citizens rule principally through their control of the administration of justice. It begins by casting doubt on two major planks in the modern interpretation of Athenian democracy: first, that it rested on a conception of the “wisdom of the multitude” akin to that advanced by epistemic democrats today, and second that it was “deliberative,” meaning that mass discussion of political matters played a defining role. The first plank rests largely on an argument made by Aristotle in support of mass political participation, which I show has been comprehensively misunderstood. The second rests on the interpretation of the verb “bouleuomai” as indicating speech, but I suggest that it meant internal reflection in both the courts and the assembly. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
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ELECTRYONE ΗΛΕΚΤΡΥΩΝΗ A kinesiological approach to the role of the Chorus in Aristophanes’ Plutus Ioanna Mastora Ph.D. Phil, Athens University, Postdoctoral Researcher, Athens University Department of Philosophy [email protected] ABSTRACT: The article attempts to present basic elements of political ideology that can be found on the choral performances of the Aristophanes’ comedy named “Plutus”, which is his last surviving work. The comedy was presented to the Athenian audience in 388 BC to glorify and demonstrate the unfair distribution of wealth and the social inequalities, while highlighting the decline of human values. In spite of the fact that in this work the Chorus has a diminished role nevertheless refers to the unjust distribution of wealth and the explosion of corruption with an interesting kinesiological approach. KEY-WORDS: Ancient comedy, Chorus, Plutus Aristophanes was an Athenian satirist poet of the 5th century. He lived (from 445 BC until 386 BC) and grew up in Athens, in the years that "The Comedy", as Aristotle writes, "was initiated by the top of the Fallicans, who even today [in the 4th Ioanna Mastora _____________________________________________________________________ century BC. Century] have been left and celebrated in many cities"1. The “phallics” were customary songs sung by groups of celebrities at Dionysus' agricultural feasts, featuring dummies of the male genitalia, the phallus. Their comic, often life-styled, disguises, immeasurable gall, bold personal teasing, and coarse, improvised satirical scenes. Phallic songs emerged from Dithyrambus a kind of Bacchic poetry and were full of ribaldry and personal ridicule2 that that the dancers were singing in honor of Dionysus3 Contemporary to the Peloponnesian War (431-404), which marked the fall of the Athenian Republic, Aristophanes top comedian of antiquity deals with the deterioration and the decline of values.