Ancient Homoerotism

This is a  revised version (winter 2022) of the restored Laius and Chrysippus myth, first published in 2002 in my book “Lovers’ Legends.” This version (with further stylistic adjustments in 2023) is inspired by the Phoenissae fragment from Euripides, and restores to the story what I now recognize as the main function of this myth: in general it condemns the akrasia of Laius, and in particular his buggery of Chrysippus. 

"Akrasia" we could render as "lack of self-control," or even more damning, knowing what is the morally right course of action but intentionally doing what is morally wrong. Laius tells us as much in this myth, in his own words. “I know what I am doing, but nature forces me.”

The story also depicts the Greek belief that, unlike all the ethical lovers of boys before his time, Laius was the first man or god to (as the Greeks viewed it) desecrate and dishonor a boy by having anal intercourse with him, a violation that was known in antiquity as "the crime of Laius."

In the previously restoration, the boy Chrysippus was murdered by his brothers. In this version, he takes his own life. It is not that I as an author have changed my mind. Rather, I as a restorer of the myth who bases himself on combining ancient fragments, have realized that I had mistakenly incorporated a fragment discordant with the story line detailed above. In antiquity, mythographers would frequently elaborate their own versions of this or that myth, creating different story lines to serve different literary or moral purposes. Thus in restoring a myth we need to ensure we are using only such fragments as are consistent with the version we are presenting. Else all we have is a hodge-podge!

The Greek myths of masculine love were composed by men who practiced ethical pederasty with boys. By means of these mythical parables they communicated to their audience the norms of proper behavior in love affairs between men and boys. Mostly the myths depict, sometimes by irony, sometimes by tragedy, what must be avoided. Of the myths depicting hybristic erastai who abuse their beloveds, this is the story that most explicitly condemns the buggery of boys.

The theme of a boy who prefers death to degradation is not unique to the myth of Laius and Chrysippus. There is a historical anecdote from around 300 BC about Democles of Athens, a young boy in the early bloom of adolescence, who was known as “Democles the Handsome.” Many men in the city propositioned him, by means of “prayers or gifts or threats.” The boy, because of his “modesty and virtue,” wanted to have nothing to do with the indecent proposals. He avoided public spaces, and started frequenting a private bathhouse. 

King Demetrios Poliorcetes had heard about the boy’s fame, and had been informed of the boy’s plans. He cornered the boy in the bathhouse, intending to force himself upon the youth. Democles, seeing that he had no way out and no one to appeal to for help, took off the lid of the boiling water cauldron and jumped in, choosing painful death over dishonor.

En el ámbito de los estudios medievales se ha pasado por alto la presencia de la homosexualidad de la época, ya sea por tabúes o por falta de fuentes que traten el tema. Esta ponencia se propone sacar a la luz a este grupo disidente a partir de la literatura; no obstante, no se usarán fuentes literarias convencionales (como cantares de gesta o romances, géneros típicamente occidentales): el enfoque se sitúa en la presencia del homoerotismo en la poesía hispanoárabe. Para cumplir este propósito, se analizarán textos como El collar de la paloma, El Corán y una selección de poemas de exponentes de la época, con el fin de abrir el debate respecto a las minorías sexuales en el mundo medieval.

Con questo lavoro ci proponiamo di fare ordine nel 'mare magnum' di considerazioni e studi più o meno approfonditi che riguardano la problematica figura di Bieiris de Romans e della sua unica 'canso' a noi pervenuta. Nel primo capitolo tenteremo di mostrare la difficoltà di delimitare in maniera definitiva il corpus delle 'trobairitz' e come vari autori abbiano interpretato diversamente l’inclusione o meno di alcuni testi e personalità. Nel secondo capitolo tratteremo nello specifico di Bieiris de Romans, ovvero il fatto di essere l’unica 'trobairitz' dell’intera produzione lirica in lingua d’oc a indirizzare una 'canso' a un’altra donna; esporremo, dunque, le teorie degli studiosi che appoggiano la sua effettiva esistenza e autorialità e quelli che vi si oppongono; infine, proporremo una nostra opinione sulla questione. Nel terzo capitolo esporremo il testo originale, una traduzione e un’analisi critica.

This study is devoted to the emotional experience of the famous Renaissance sculptor, goldsmith, and writer, Benvenuto Cellini (1500–1571), as it is portrayed in his life writing, the Vita. Providing the variety of arguments on the connection between the artist and contemporary intellectuals, who attended the Florentine Academy (1540–1583) together, I demonstrate that Cellini’s literary production can be examined productively against the background of Neoplatonic thought. In particular, Marsilio Ficino’s On Love, first published in the vernacular Italian in 1544, helps to establish an explanation of what Cellini meant when he decided to play the cornet while falling in love simultaneously with a young boy and girl, or  how he justified kicking or punching his servants, or why he did not kill his adversary, the artist Baccio Bandinelli, when he had the chance. These cases of radical affectivity are inscribed into Ficino’s concept of the “melancholy genius” manifesting melancholic madness. In Cellini’s Vita, the latter can not only turn humans almost into beast, literally (for example, in a bat); but, properly tempered by the means of music and poetry, as well as of individual and collective magic, it elevates one’s soul “on high,” which corresponds to the Neoplatonic concept of divine madness.
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Table of Contents
Introduction
Chapter 1.  Benvenuto Cellini and the Florentine Academy
1.1 Why did the Italian academies emerge?
1.2 Academic movement before the Florentine Academy
1.3 The Florentine Academy
1.4 Benvenuto Cellini’s writings in the context of the Florentine Academy
Chapter 2.  “Essendo io per natura malinconico”: Benvenuto Cellini and the Ficinian Legacy
2.1 “Grand theories” and “grounded” early-modern artists
2.2 Marsilio Ficino’s On Love
2.3 “Melancholy genius” concept
2.4 (Neo)Platonic love
Chapter 3.  “Tu ten sei gito a contemplar su ’n Cielo l’alto Fattore”: Benvenuto Cellini Ascending on High
3.1 Esoteric knowledge and censorship
3.2 “Furor divino” and “diabolico furore”
3.3 Different kinds of furor divino in the Vita
Conclusion

En este artículo se exploran los significados culturales y jurídicos de la Sodomía en el mundo Ibérico durante la conquista y colonización de América. Asimismo el autor hace una propuesta interpretativa de las fuentes coloniales que refieren esas conductas entre los nahuas del centro de México. La finalidad es contrastar las nociones de género y sexualidad en ambas culturas para proponer una metodología descolonizante de los estudios históricos.

It is commonplace in New Testament scholarship to assume that Judaism at the turn of the Era univocally condemned same-sex intercourse among men, whether scholars use this supposition to argue that Jesus felt likewise or was uniquely accepting of the practice. The present article provides the original-language text, English translation, and brief commentary for evidence of same-sex intercourse involving Jewish men around the turn of the Era, pointing to the varying testimonies of Josephus, Martial, a graffito, Tacitus, and the Warren Cup. The paper concludes with a reflection on the relevance of the study for understanding Jesus' sexual politics. This article contains graphic literary and visual depictions of sexual intercourse.

IN RECENT YEARS, homosexuality has become one of the most contested cultural issues, at both a national and international level. Even the question of language is hotly debated, especially in Christian circles, with some rejecting "homosexuality" because of its relationship with clinical psychology in past years, and some insisting upon its use because of the associations of the term "gay" with certain political and cultural movements. This article will take a step back from those particular questions and will seek to give an account of a more fundamental question: that of desire, particularly same-sex desire. It will give a historical and philosophical account of the nature of erotic love and then apply this account to the question of homosexuality and homoerotic desire. While maintaining an adherence to Catholic teaching, especially the teaching laid out in the "Catechism of the Catholic Church," this article will seek to move the conversation forward, in giving a positive account of homoerotic desire and reframing the current discussion of homosexuality and Catholicism....

The aim of this paper is to read the V dialogue of Lucian's of Samosata Dialogues of Hetaerae using the euristic tools offered by Michel Foucault's History of Sexuality. The transformation of Lucian's dialogue in “monument” and the comparison with the Memoirs of Alexina/Herculine Barbin allows us to see through the characters of Lucian's text a “pre-sexual” and “pre-hermeneutic” subject. On the other hand the erotic treatise of Philaenis of Samos, which Lucian used for his comic dialogue, suggests to us the complexity of a “pre-sexual” society like that of ancient Graeco-Roman world.

Scopo di questo lavoro è indagare il V dialogo dei Dialoghi delle Cortigiane di Luciano di Samosata  attraverso gli strumenti euristici forniti dalla Histoire de la sexuatlitè di Michel Foucault. La trasformazione del testo lucianeo in un “monumento” e il suo confronto con le memorie di Alexina/Herculine Barbin permette di individuare nelle protagoniste del dialogo lucianeo un soggetto pre-ermeneutico e pre-sessuale. Allo stesso tempo la presenza in Luciano delle vestigia dell'antico trattato erotico di Filenide di Samo ci permette di leggere la complessità della società pre-sessuale greco-romana.

This story of Muscleman and Blondie is a 2300 year old myth from Ancient Greece. The story was almost lost. All that is left is fragments from five different ancient authors, Aristotle, Strabo, Plutarch, a papyrus fragment from Oxyrhynchus, and Photius’s summary of Conon. It’s original title was “Euxynthetus and Leucocomas,” later rendered as “Promachus and Leucocomas,”

In putting the pieces together again, I had to make sure the story had the proper structure: setting, plot, crisis, and resolution. I added only what was needed in order to “glue” the pieces back together smoothly. I also translated the Greek names, because they held hidden meanings. The original name of the boy tells us that his main quality was his long blond hair, in other words, his good looks. That is a surprising contrast to typical Greek names of that time, names that parents presumably gave their children to imbue them with philosophical, social, or divine qualities. The original name of the man tells us that he is physically strong, again a break from Greek convention. Taken together, it is clear that the two unusual names serve to caricature their owners, and must have sounded very funny indeed to the ancients. Indeed, the tale caricatures the ill manners and disdain that the boy shows toward the man, and also caricatures the man’s foolish submission to every whim of the boy he loves.

The first mention of the myth appears in the ancient texts around 330 BC, but it has to be older than that, because we are told the story was already famous. It remained famous for another five hundred years, which tells us that the ancients liked the story and found it useful. What could that use have been? The Greek myths about love between men and boys (there are about a dozen such stories left) are teaching stories. Each story has a different message. They taught men who fell in love with boys, and boys who fell in love with men (in Ancient Greece that means almost everybody), to behave honorably with each other, and not to fall into the traps of greed, abuse, foolishness, or disrespect.

The moral that the myth of Muscleman and Blondie teaches was important enough to the Greeks that they composed at least two more stories with the same message: that boys should not be disdainful and ill-mannered towards the good men who want to love them, and men should not let themselves be blinded by love and should not permit boys to take advantage of them. The most famous of these myths is the story of the handsome fifteen year old Narkissos and the man who loved him, Ameinías,. It is even more tragic than the story of Muscleman and Blondie: Ameinías and Narkissos both die.

These old tales make us moderns think that it must have been difficult for a Greek gentleman to win the love of a boy. That is how Greek fathers wanted things to be. They did not want their sons to fall easy prey to the first man who came along, but wanted them to judge wisely and choose a good man as a lover, selecting him for the qualities of his character and not for the gold in his pocket.

This paper examines the poetic persona of Sappho in the fragment 31V, one of the most erotic poem in Ancient Greek literature. By describing Sappho's cycle and the theories of ancient homoerotism, I proceed to an alternative analysis of the current fragment. Major subjects of discussion are the emotional pathology described by Sappho, as well as the fluidity of narration. The poet's psychosynthesis is wavering between emotion and logic, the imaginary and the real level. The only salvation from this situation is the control of her expressions, driven by unselfish devotion to her goal, that is, the creation of aesthetic poetry.

The goal of this paper is to examine the major areas of discussion when looking at homosexuality in the Bible, provide a brief survey of the different approaches used by both affirming and non-affirming scholars, and to make a choice on which arguments seem best.

Tesis de Doctorado que estudia los discursos sobre la sodomia en la Nueva España de los siglos XVI y XVII.
Cubre dos periodos el de la conquista y la sociedad colonial.
Se propone una interpretación sobre las nociones de sexualidad, género y homosexualidad entre los nahuas del siglo XVI.
Se estudia algunos casos sobre el pecado nefando en el siglo XVII.
Se analiza el proceso judicial que llevó a la condena a muerte en la hoguera a Cotita de la Encarnación y otros varones por el pecado nefando.

The paper examines the laws about male prostitution in Classical Athens. There was no law aimed at outlawing the practice of male prostitution, but two laws that prevented male prostitutes from serving as magistrates or making proposals in the Assembly.

KEYWORDS: Eschine; contro Timarco; prostituzione; prostituzione maschile; Grecia antica; Atene; dokimasia; graphé hetaireseos; Aeschines; Against Timarchus; male prostitution; dokimasia of orators.

Desde pequeno criava minhas próprias histórias. Minha imaginação sempre foi responsável por me levar a reinos, aventuras, batalhas, intrigas e romances dos mais variados tipos. Dando-me um espaço vazio, um pedaço de madeira que funcionaria como minha espada, cajado mágico, varinha e pronto, horas e horas seriam usadas dentro de histórias que eu criava na minha cabeça. Os anos foram se passando e cada vez mais eu sentia necessidade de duas coisas: a primeira era de buscar referencias para minhas ideias, os reinos, apesar de algumas vezes ainda levarem nomes imaginários, eram agora governados por reis e rainhas que realmente existiram, em especial os da França e Inglaterra, e horas eram perdidas no computador dos meus pais em sites, como a Wikipédia, na busca de guerras que realmente aconteceram, intrigas que rolaram nas diferentes idades da História, romances que viraram referencias na matéria do amor. Além disso, eu precisava registrar minhas brincadeiras, minhas histórias. Com isso vários bloquinhos e folhas soltas serviam de lugar para mapas e registros do que teria acontecido no meu pátio aquele dia que, com o auxílio da imaginação, era o mais novo reino, campina, batalha, castelo e templo da brincadeira atual. Mal eu sabia que aqui sozinho já conhecia duas das partes mais importantes de minha futura profissão, a de historiador.

RESUMO
Os estudos clássicos, de modo geral, desde o final do século XIX até meados do XX, foram permeados de ideais de superioridade e dominação. Buscou-se uma relação imediata com o passado antigo, formando uma linha de tempo ininterrupta e teleológica, na qual estudiosos do mundo clássico, por meio dos ‘usos do passado’, uniram antigo e moderno, misturando-os de acordo com os interesses políticos nacionalistas. Transformando, assim, a Antiguidade, principalmente a romana, em um espelho de suas aspirações ideológicas. Na historiografia a respeito de Roma, preponderou as lembranças de um passado permeado por feitos políticos e militares, delegando à marginalidade os elementos da vida cotidiana e do ordinário, essenciais para compreender a construção das experiências humanas. Temas como as práticas de religiosidade e a sexualidade ou o erotismo foram, por anos, relegados da história tradicional, ou, quando recuperados, estavam imbuídos de uma visão judaíco-cristã na qual se considerava as esferas do sexual e do religioso como algo totalmente distantes. Partindo dessas premissas, nossa investigação se concentrará nas maneiras como se dão as expressões religiosas e as suas especificidades na cidade de Pompeia, focando, sobretudo, em divindades relacionadas com os rituais de fertilidade (Vênus, Baco, Ísis, Priapo, Hermafrodito). De tal modo, a cultura material presente neste sítio arqueológico, proveniente de contextos materiais distintos, em especial, no interior de casas pompeianas, nos desafia a desvincular a sexualidade romana pagã da noção cristã de pecado e reinseri-la no universo religioso, oferecendo assim, uma percepção menos anacrônica da experiência romana em geral e pompeiana em particular.

Interpretations of the sport objects in Attic vase-painting have traditionally taken a single-directional approach viewing them solely in the light of their primary function as locale indicators. However, these objects had an additional purpose signifying social standing of the figures present as well as linking sport and pederasty. This article explains the connection between the oil-set (strigil-aryballos-sponge group) and the elite custom of homosexuality placed in the gymnasia. The example of Tampa Museum vase 86.70, Attic Red-figure hydria from the Late Archaic period, demonstrates this concept resulting in a new interpretation of the vase’s main panel as a scene of a pederastic couple (with the oil-set) on a visit to a prostitute for the benefit of the youth’s education.

Among the academic subjects, Ancient Studies are those considered the most conservative. However, through interdisciplinarity (particularly through the dialogue with Archaeology), this field of study has managed to reach more critical perspectives, mainly in researches on love and sexuality. This work keeps a dialogue with the research carried out by the classicist Pedro Paulo Funari, who, in turn, has inspired many Brazilian researchers to break up the normative models, questioning old concepts and patriarchal values to give rise to a more libertarian classical antiquity. After presenting a discussion on gender and sexuality in Ancient Rome, a theoretical debate is proposed. Later on, some paintings of erotic relationships, showing diversified practices (particularly emphasizing homoerotic relationships), found in a suburban bath in the Archaeological Site of Pompeii, are presented to evince how differently individuals interpellated norms, to question the definition of pornography and to deal with the relationships between the images and their contexts.

A previously unpublished Attic black-figure neck amphora is attributed here to the Medea Group and dated ca. 530-520 BCE. It illustrates on Side A Apollo and Artemis framed between Poseidon and Hermes, and on Side B a scene of pederastic sexual intercourse (Beazley's Courting Type γ). The latter scene is placed in the context of 38 other examples of this type illustrated in Attic black-figure.

A presente pesquisa tem como objetivo central a análise e discussão dos cinco primeiros discursos que compõem um dos mais célebres diálogos platônicos, O Banquete. Dentre as justificativas que podem ser apresentadas para o exame pormenorizado desses encômios está o fato de que os mesmos trazem consigo uma forte carga proléptica com relação ao panegírico de Sócrates; o trato que a tradição concede aos mesmos, de maneira geral, relega-os a uma desatenção investigativa. Isto se deve à forte centralidade que se atribui à fala do filósofo, em contraposição ao julgamento superficial que se faz dos encômios dos demais convivas como enunciados não-filosóficos. Entretanto, há uma enorme riqueza conteudal que Platão deposita em cada um dos louvores a Eros proferidos pelos simposiastas que antecedem o Filósofo de Atenas. Admitindo essa riqueza, o presente trabalho privilegiará a análise de dois aspectos muito marcantes na cultura da Grécia Clássica, os quais parecem opor-se entre si. Contudo, no decorrer do diálogo, passam por um processo de ressignificação por meio de uma abordagem filosófica promovida por Platão. Trata-se do homoerotismo e do feminino. Demonstrar-se-á que, durante o desenvolvimento da cena dramática do Banquete, estas temáticas, de domínio público e, talvez por isso, impregnadas pela doxa, são revisitadas por Platão através de uma educação filosófica. Por fim, num movimento contínuo durante toda esta pesquisa, tornar-se-á evidente que o texto do Banquete constitui-se, também, como um esforço platônico de denunciar, apropriar-se e superar as teses sofísticas – de modo especial aquelas relativas à paidéia sofística –, ricamente presentes em todos os cinco primeiros elogios a Eros e, por isso, como consequência inevitável, como será apontado, também no discurso de Sócrates.
Palavras-chave: Platão. Banquete. Homoerotismo. Feminino. Sofistas.

This research aims at the object of the analysis and discussion of the first five speeches that comprise one of the most celebrated Platonic dialogues, The Symposium. Among the justifications that can be presented for the detailed examination of these praises is the fact that they bring a strong proleptic load with respect to the panegyric of Socrates; the treatment that tradition grants them, in a general way, relegates them to an investigative inattention. This is due to the strong centrality that is attributed to the speech of the philosopher, in contraposition to the superficial judgement which is made of the praises of the others as non-philosophical enunciations. However, there is a huge wealth conteudal that Plato deposits in each of the praises of Eros proferred by the symposiasts preceding the philosopher of Athens. Admitting this wealth, the present work will focus on the analysis of two very striking aspects in the culture of classical Greece, which seem to oppose each other. However, in the course of dialogue, they undergo a resignification process through a philosophical approach promoted by Plato. It's homoeroticism and feminine. It will be demonstrated that during the development of the dramatic scene of The Symposium, these themes, of public domain and, perhaps so, impregnated by the doxa, are revisited by Plato through a philosophical education. Finally, in a continuous movement throughout this survey, it will become apparent that the text of The Symposium is also a platonic effort to denounce, take ownership and overcome the theses sophisties – especially those concerning the paideia sophistry –, richly present in all the top five praises to Eros and therefore as an inevitable consequence, as will be pointed out, also in the speech of Socrates.

Keywords: Plato. Symposium. Homoeroticism. Female. Sophists

Pessoa's Antinous follows a tradition of poems on mythological dying-god figures mourned by their divine lovers, transferring the tropes of that tradition to the Roman emperor Hadrian and his lover, who had been appropriated by fin-de-siècle literary homoeroticism.

" As Easily as a Fox Eats a Pear " (Plaut. Most. 559): a Homoerotic Pun In Plautus' Mostellaria, Tranio, who has already persuaded his master, Theopropides, that his house is haunted is afraid that his trickeries will be revealed. Theopropides reports to him that he has spoken to his neighbor, Simo, whose house has allegedly been bought by Philolaches, Theopropides' son. He recounts Tranio's fake story about the haunted house, which is new to Simo, so the slave, encourages his master to find an arbiter. Thus, he will win the case easier than a fox eats a pear (559 Tam facile vinces quam pirum volpes comest). The proverb is unique in both Greek and Latin literature. The fox, a common metaphor of cunning and trickery, sometimes symbolizes the sexual predator, whose object of desire is the grape, a fruit suggesting an immature boy or girl. A probable transposition changed the grape into another provocative fruit, the pear, which was a phallic symbol. So the meaning is that Theopropides will win the case easier than the foxy pederast subjugates the young man. If we accept that there is a hidden homoerotic meaning, then the-humoristic-case of Theopropides and Simo will be the only one in Plautus involving two free men and not a master and a slave.

Aqui vamos, antes de qualquer pretensão, fazer uma viagem ao passado, na busca por algumas concepções sexuais em três povos da Antiguidade: egípcios antigos (papiros do século XV A.E.C.), gregos/atenienses (séculos V-IV A.E.C.) e judeus/israelitas (nos tempos dos reis, séculos X-IX A.E.C. e de Josefo, século I E.C.). Dentre os mencionados, os egípcios são os que mais carecem de estudos sobre o tema. Por sua vez, os gregos, bem como os romanos, são bem estudados nos mais variados âmbitos acadêmicos no mundo. Dentre os mais polêmicos certamente estão os estudos desse tema no mundo bíblico, tanto quanto no judaísmo, cristianismo e islamismo. Dentro desse rico tema da homossexualidade, vamos adentrar em mundos distantes, mas que muito nos tem a contribuir com seus próprios contextos e particularidades.

O Livro XII da Antologia Grega contempla cerca de 260 epigramas unidos pela temática homoerótica que desenvolvem. À parte um conjunto escasso de componentes dedicados ao amor heterossexual, erroneamente introduzidos pelos copistas na coleção e que aqui são também traduzidos, versam sobre o modelo da relação amorosa entre um homem adulto (o assim  designado erastes, o “amante” ) e um adolescente (o eromenos). A Musa dos rapazes tem, como contraponto imediato, o livro V da Antologia, coletânea mais extensa de epigramas sobre o amor heterossexual. Uma leitura de ambos permite no entanto, em primeira instância, detetar um grupo de tópicos e imagens que se repetem, prova em si de que ambos celebram uma mesma realidade – as benesses (mais bem escassas) e as agruras do amor.

A día de hoy, el único trabajo específico, riguroso y relativamente amplio sobre la homosexualidad femenina en los textos astrológicos grecolatinos con el que contamos es el capítulo 4 (“Predetermined Erotic Orientations: Astrological Texts”, pp. 115-141) del libro de Barbara Brooten, Love Between Women. Early Christian responses to female homoeroticism (Chicago 1996). Tras constatar sus carencias, sin embargo, y siguiendo una sugerencia de la propia autora (p. 138, n. 98: “a systematic study of all of the extant astrological texts from antiquity would doubtless yield further sources on tribades”), nuestro artículo presenta un proyecto más ambicioso consistente en recopilar y comentar todos los pasajes de la literatura astrológica grecolatina que se refieren, de manera explícita o implícita, a la homosexualidad femenina, desde el Carmen de Doroteo de Sidón, en el siglo I d.C., hasta el poema astrológico de Juan Camatero, ya en plena época bizantina, con el objetivo de reunir todos los datos a nuestro alcance, analizar exhaustivamente los textos, discutir la bibliografía disponible y, en suma, clarificar la cuestión. En esta primera entrega, siguiendo el orden cronológico de nuestras fuentes, nos ocupamos del Carmen astrologicum de Doroteo de Sidón, del que sólo han sobrevivido un puñado de fragmentos en su forma hexamétrica original, junto a diversas glosas parciales y una problemática traducción árabe del siglo VIII. Del análisis de este material se extraen una serie de ideas clave (Venus ‘masculinizado’ puede influir en el nacimiento de mujeres con inclinaciones homosexuales; la homosexualidad femenina es algo malo, y ciertas configuraciones astrales pueden hacerlo peor o más dañino; la homosexualidad femenina es comparable a la prostitución, y quienes la practican “realizan actos de hombres”) que al parecer estaban ya establecidas en el pensamiento astrológico del siglo I y que serán repetidas o todo lo más perfiladas sin apenas alteraciones, al menos no sustanciales, por los astrólogos posteriores.

There are two interconnected feminine homoerotic threads in the Dionysiaca, the references to the myth of Callisto, scattered throughout the poem, and the episode of Aura in book 48, which I read against the  narratives of heteroerotic relationships and male homoerotic ones

Resumo: Neste artigo, proponho a tradução e análise dos capítulos 28 e 29 da Vida de Nero, de Suetônio, com comentários linguísticos e cotejo com outras passagens da obra e de outros documentos pertencentes a gêneros literários diversos. Com o objetivo de compreender as intenções do autor e sua estratégia discursiva, esboço algumas observações sobre as Vidas dos doze Césares e sobre a técnica narrativa de Suetônio. Sobre o sentido dos episódios narrados, acompanho brevemente a discussão historiográfica a partir de meados do século XX.
Palavras-chave: Nero; Suetônio; homoerotismo; estudos de gênero; Es-poro; Doríforo.

SUETONIUS ON NERO'S MARRIAGE TO SPORUS AND DORYPHOROS
Abstract: In this article, I will present the translation and analysis of chapters 28 and 29 of Suetonius's Life of Nero, with a linguistic commentary and references to other excerpts of the biography and other documents from different literary genres. In order to understand the intentions of the author and his discursive strategies, I formulate some notes on the Lives of the Twelve Caesars and the narrative technique of Suetonius. As for the meaning of the episodes presented, I briefly follow the historiographical discussion from the mid-twentieth century onward.
Keywords: Nero; Suetonius; Homoeroticism; Gender Studies; Sporus; Doryphorus.

Side B (color fig. 39) shows a pederastic courting scene of Beazley's Type γ. 5 In the center a youthful eromenos and bearded erastes peform sexual intercourse in the dia merion mode (fig. 2) framed by pairs of naked men dancing in from either side. The adult erastes hunches over with bent knees and stares downward intently, holding the youth tightly between his thighs and embracing him with hands clenched on the boy's hips. He is slightly wilder than his dancing companions, with a large eye, an odd, almost satyric ear, and a slightly longer beard made a bit shaggy by short incisions, like the hair above his neck. The eromenos stands upright, looking ahead over his lover's shoulder, and reaches back awkwardly across his lover's upper right arm with clenched fist, his other, bent arm only partly shown. Like Apollo, he sports the long hair of youth and rises slightly above the older men. He wears a short cloak that must be open in front but hangs behind him to cover his buttocks and pass between his body and arms on either side, its ends hanging free on either side. It has red folds like those on the other side, and is decorated with a few white dot clusters; an incised fold shows that it covers his back and sides down to the knees. The naked dancers appear in profile, with partly incised red beards, red circles around their nipples, and a range of hairstyle. The two on left have short hair with red crests in front, with traces of a red hairband on the leftmost figure, and small flaccid genitals. The leftmost dancer stands or prances on one leg, raising the other behind, and appears to slap his companion on the buttocks, although a slight bit of reserve may indicate that his hand is closed and passes behind. His companion stands with slightly flexed knees, raising his hands up and down, recalling Type β courting; he may be a bit younger, less muscular than his companion, slightly paunchy, with sagging horizontal abdominals, vague musculature on his left arm, but well defined leg muscles. On right, the leading dancer moves in vigorously with flexed, widely spaced knees, his left hand lowered in front, the other raised and bent oddly behind, its hand emerging behind his shoulder, vaguely echoing the dancer on left; his long hair flows behind onto his shoulders, his red beard is fringed, and an incised pompadour rises over his forehead. The remaining dancer stands in place twisting his torso to a frontal view, raising his left arm behind and over his head, the other arm lower, crossing his waist. He lacks a defined mouth and also sports an elaborate pompadour with very short krobylos.

This essay explores the literary motif of lovesickness with in the Acts of Andrew, a second century Christian apocryphal text. I argued that lovesickness is used within this ascetic narrative to portray the erotic connection between two male characters: the apostle Andrew and his disciple Stratocles. I read the Acts of Andrew alongside two Greek novels, Achilles Tatius' Leucippe and Clitophon and Xenophon's An Ephesian Tale, both of which contain male homoerotic relationships where one or both of the male partners exhibit symptoms of lovesickness specifically occurring when the love of the partner is threatened or lost. I suggest the portrayal of the character as physically sick is an intentional narrative strategy functioning to show the depth of the love experienced between two men.

Verba volant, scripta manent-Τα λόγια πετούν, τα γραπτά μένουν. Έτσι έκαναν φράση οι Ρωμαίοι την προειδοποίηση ότι ο γραπτός λόγος αποτελεί ανεξίτηλη απόδειξη υποθέσεων που σε κάποια μελλοντική στιγμή μπορούν να αποδειχθούν άβολες ή ντροπιαστικές. Από αυτή την οπτική γωνία, είναι πιθανό ότι οι κοινωνίες που υιοθέτησαν τον γραπτό λόγο βρίσκονται αυτή την στιγμή σε μειονεκτική θέση συγκριτικά με άλλες που δεν τον χρησιμοποίησαν. Αυτό είναι που συμβαίνει και με τους Έλληνες σήμερα, οι οποίοι πρέπει να συμφιλιωθούν με το γεγονός πως τα ιερά κείμενα των προγόνων τους, αυτό που σήμερα ονομάζουμε ελληνική μυθολογία, καθιερώνουν την αγάπη μεταξύ δύο αρσενικών. Από την άλλη, αυτό το πρόβλημα δεν το αντιμετωπίζουν κοινωνίες που δεν άφησαν καμιά γραπτή κληρονομιά, όπως για παράδειγμα οι αφρικανικοί πολιτισμοί των Αζάντε ή των Μπουγκάντα.

Resumo: O relacionamento homoerótico masculino realizado entre os atenienses do período clássico, conhecido como pederastia, se constitui em um objeto de destaque em pesquisas cujo recorte se fundamenta no envolvimento entre indivíduos do mesmo sexo na Antiguidade. Tal notoriedade se deve pelo considerável número de registros deste convívio em textos de autores clássicos como, por exemplo, os de Platão e de Xenofonte, cada qual com seu estilo e seu ponto de vista. Através da apreciação desses escritos, é possível identificar os envolvidos e a faixa etária dos mesmos, os locais propícios para os encontros e os diversos objetivos que circundavam tal relação, delimitando a noção que um cidadão ateniense do período poderia ter acerca da pederastia. O objetivo deste artigo é analisar o modo como Platão e Xenofonte se utilizam em suas obras de personagens detentores de desmesuras e de excessos para delinear o que para eles, respectivamente, eram comportamentos reprováveis e que não deveriam ser praticados pelos envolvidos no relacionamento pederástico.

O texto explora a temática da efeminação e travestismo na Antiguidade grega, em torno da tríade conceitual identidade-diferença-fronteira, baseando-se em fontes literárias e iconográficas. Como recurso hermenêutico, propõem-se aproximações com noções e termos atuais e brasileiros. Apresenta-se com a seguinte subdivisão:
1. Introdução: efeminação e travestimos, cruzando as fronteiras da conduta viril
2. Lá longe, cruzando as fronteiras, os transgêneros estrangeiros: etruscos e citas
3. Um “veado” em casa, ou, o outro dentro do território da identidade: atores, poetas e músicos efeminados.
4. Poetas femininos e atores travestis
5. Arquétipos mitológicos da efeminação: alguns heróis músicos (Orfeu, Anfião)
6. Músicos, adultos afeminados, meninos bichinhas
7. Citaredos profissionais, celebridades extravagentes e delicadas
8. Os drag-queens atenienses
9. Considerações finais: travestis e efeminados, homens ambíguos, ao mesmo tempo, afirmam e desafiam a normalidade viril.

Examination of the role of fiction and historical reconstruction in the work of Carlos Motta, emphasizing works show at his exhibition at PPOW Gallery in April 2016.  Because of the erasures of colonialism and its legacies, Motta explores imaginative projection and visionary identification as tools to conjure the complexity of pre-Hispanic and colonial subjectivities that would otherwise be lost or caricatured in the received taxonomies of the European colonial worldview.

A través del análisis de las formaciones discursivas que evocan la sexualidad de los pueblos
originarios de América, en el siglo XVI, el autor intenta exponer los usos ideológicos y políticos
de la recurrencia al tema de la homosexualidad de los indígenas durante el periodo de la
conquista y colonización del continente. La representación de la sexualidad fue parte constitutiva
de la construcción del “otro” en la colonización de Hispanoamérica. El análisis de los
discursos acerca de la sexualidad dentro de los debates históricos de la región hace más comprensiva
la conformación de la cultura latinoamericana hoy.