Sappho

Ancient Greek poetess Sappho is widely regarded as the oldest known lesbian and feminist in the Western literary history. However, this common notion represents just one in the millennia-long series of reinventions of her persona, since before the fin de siècle her heterosexuality was viewed as an almost indisputable truth. This paper
argues that, throughout the history, the reception of Sappho’s poetry was inevitably faced with the question of her sexuality, which was addressed in very divergent ways. It first uses the theoretical concepts of “Trojan horse” and “compulsory heterosexuality” as outlined by feminist critics Monique Wittig and Adrienne Rich to demonstrate that (homo)erotic sentimentality of Sappho’s magnificent poems produced a moral complex in Western heteropatriarchal societies, which sought to tame and reclaim that poetry by heterosexualizing it. The paper then turns to a diachronic analysis of various discursive strategies of heterosexualization within the Western literary and philological discourses from antiquity to modernity and contrasts them with the contemporary discourse of homosexualization, thus showing that the reception of Sappho’s poetry can be conceptualized as an ideological battle between traditional epistemological regime of compulsory heterosexuality on the one hand and modern political aspiration for women’s and lesbian emancipation, on the other hand. Finally, the article illustrates how contemporary philological and historical research on Sappho, in an attempt to escape that ideological battle, unconsciously falls victim to this millennia-long misogyny.

In scholarship, the study of male pederastic practices in the ancient Greek world has been used time and time again to reinforce the existence of homosexuality across time, though the same attention has not been given to a feminine equivalent, let alone for the same intentions. This is an extension of the tradition set by antique writers that chose to address male relationships and same-sex love as the ideal, making treatments on the female type much more difficult to perform. This pattern surfaces in discussions of pederastic homosexuality the world over, leaving modern scholars with only scant conclusions on the possibility of a feminine equivalent without any further efforts to elaborate. The following study aims to address this glaring hole in scholarship. First, in looking to the initiatory origins of male pederasty in the Greek world in order to build and account for the feminine; Second, in establishing the feminine’s own origins in mythology and initiatory practices; And, finally, in identifying how it was practiced throughout the ancient Greek world in surviving poetry from the Archaic and Hellenistic periods.

This article argues that the reception of Homeric poetry in the lyric poets of the Archaic period is a process of evolution, in which evidentiary difficulty and the gradual development of intertextuality combine to make Stesichorus the first truly intertextual poet in the Greek tradition. Earlier interactions are, as far as we can tell, very limited, confined to mentions of basic plot or famous episodes, whilst even his exiguous fragments allow us to see Stesichorus engaging in a sustained and recreative manner with the entire Iliad and Odyssey. This is an uncorrected proof.

The article explores one of the poems included in the so-called 'New Palladas' collection (P.CtYBR 4000, pag. 18, rr. 1-9). My aim is to cast new light on the epigrammatist's subtle reworking of his model, namely Sapph. fr. 31 Voigt. I conclude with a few remarks on the contents and typology of the new poem as well as on its tentative attribution to Palladas of Alexandria.

A short analysis of new Sappho's poem and of the questions about its problems of contextualizing. In my work I try to specify if the Brothers Poem could be linked to VIIth centry's symposium. Larichos as possible addressee and other evidences of the question.

Nueva introducción a la traducción de Safo del Profesor Rodríguez Adrados publicada originalmente en 1980. En esta introducción se ofrece un comentario actualizado de algunos de los principales poemas, así como información de los descubrimientos de nuevos fragmentos en las últimas décadas.

This paper argues that the poetics of Ezra Pound and H.D. form the vanishing mediator for the post-1970's literary interpretation of Sappho within Anglo-American classics. It thereby inverts Hugh Kenner's canonical interpretation of the presence of Sappho in Pound's work of the 1910's to argue that "fragmentation," as an aesthetic in provocative excess of the philological record, is not classical in any sense but rather a modernist ideology of form.

This new companion (edited by Patrick Finglass and Adrian Kelly) aims to incorporate the newest finds of Sappho's poetry into an overall study of her importance in the ancient world and her reception into the modern. The cast list and proposed structure can be found in the attached document.

What does it mean to have a feminine voice in a literary world dominated by male authors? What would it mean for the contemporary reader of ancient and medieval texts to be responsive to the distinctiveness of the feminine voice? This article addresses these questions by focusing on an eleventh- century epistolary exchange between the poet and clergyman Baudri of Bourgueil and Constance, a young nun at Le Ronceray Abbey in Angers. This amatory correspondence develops through a dialogue with a multiplicity of voices that are part of the classical erotic tradition. Examining the inter- textual web created by these letters, the essay shows why intertextuality is a key for deciphering a text’s articulation of the feminine.

The idea that Gregory of Nyssa’s work On Virginity was a piece of advocacy for Basil the Great’s ascetic programme has recently been challenged from various perspectives. Here I examine Gregory’s creation of a particular authorial voice through his manipulation of certain stock themes from classical literature on marriage; I show that De virginitate employs a range of reference hitherto unrecognised by scholars and is not just artful but poetic. By challenging boundaries between rhetoric, philosophy and poetry, and the useful and beautiful in the arts (boundaries which modern readers impose on ancient texts), I suggest that Gregory explicitly defends both virginity and marriage; he also implicitly gives a theological defence of his use of artful rhetoric. On Virginity is thus as much about theological poetics as it is about either marriage or celibacy.

Female Homosexuality in Ancient Greece and Rome, Paris, Les Belles Lettres, Collection d’études anciennes, 2007.
http://www.laviedesidees.fr/Femmes-entre-elles-dans-l.html

Although ancient erotica in general, and male homosexuality in particular, have generated much research by historians and philologists, from the nineteenth century to the present, sex and love between women in Greece and Rome had never previously received the attention of a systematic and specific study. This book analyzes all the sources on sexual or erotic relationships between women, from the seventh century BC to the second century AD, providing a comprehensive analysis - with no blind spots – of the cultural and social construction of sexual categories in the ancient world. The preface, by David Halperin, professor at the University of Michigan at Ann Arbor and author of One Hundred Years of Homosexuality (Routledge, 1990), emphasizes the innovative qualities of this book and its importance in the context of current studies on the history of sexuality and identity. The first part focuses on references to female homoeroticism in Greece of the Archaic period. The study of the compositions of Alcman and Sappho is preceded by analysis of rites of passage and male and female initiation. The study continues with the analysis of a poem by Anacreon, referring to a woman of Lesbos. This is an opportunity to make a brief excursus on a false friend in the Greek language, lesbiazein, which does not refer to practices that would be characterized today as "homosexual." This type of relationship is also documented in iconography (plate from Thera, c. 620 BC.). Mythical discourse also evokes this theme in a well documented alternative version of the myth of Kallisto. None of these documents condemn female homoeroticism or even suggest an essential difference between relationships between women and other erotic relationships (between men and women, men and boys). The second part of the book deals with Classical and Hellenistic Greece. In Plato's Symposium, Aristophanes derives the existence of women who love other women from the splitting of an original all-female creature (while men and boys who love each other derive from an original all-male creature, and men and women who love each other derive from an original androgynous creature). In The Laws, female homoeroticism is paradoxically recognized through restriction, which also applies to relations between men and relationships between men and women outside marriage. As for images, some representations have been misinterpreted as homoerotic because of the presence of a olisbos (dildo), an instrument pertaining to heteroerotic relations. In the Hellenistic period, female homoeroticism is mentioned in the Greek Anthology and a fragment of a comedy by Amphis. There are two recurring characteristics in the references: the absence of moral condemnation, and the lack of distinction between the two partners' sexual roles.
In Roman times, there were several developments. In the late first century BC, female-female love first appears in Roman discourse in Ovid's Heroides.  reference to the poet Sappho.  This poet also depicts female-female love in the Metamorphoses, through the myth of Callisto and Iphis, a girl who falls in love with her friend Ianthe. In the early first century AD, derogatory views of  the subject appear in caricature and satire. The term tribas appears in one of the Fables of Phaedrus, and in Seneca the rhetorician – which serves as the occasion for a consideration of Roman law. Women who love women but are not considered tribades (but rather ugly, drunk, and/or wicked), appear in Petronius, Martial, Juvenal,  Lucian, and the Erotes attributed to Lucian.  There is, however, no coherent portrait of a female equivalent of the effeminate cinaedus. The lack of symmetry between men and women who have sex with people of their gender is evident in the development of scientific discourse on dream-interpretation, medicine and physiognomy.
Greek and Roman discourse on female homoeroticism uncovers an essential part of ancient societies: the asymmetry of ancient gender classifications (i.e. an asymmetry with respect to a modern understanding of social function where difference of gender on a binary model is a primary criterion of distinction between individuals). This configuration is unfamiliar to a modern mind and sometimes leads to anachronisms or inaccurate abbreviations: we imagine a balanced, symmetrical configuration (male / female, active / passive, masculine / feminine, penetrated / penetrating) thus striving to identify - wrongly - the equivalent of a systematic erastes / eromenos (lover / beloved) relationship in female couples. The treatment of female homoeroticism in fact reveals a complex polarity inside ancient masculinity:  the distinctions between individuals follow gradations and multiple contextual criteria (status, origin, property, business, self-presentation, behavior, social and erotic behavior etc.) -- a system, in short, far removed from the psychological modes of identification employed in current arrangements of "sexuality", and which, as a result, requires further study.

The Archaic Greek Age gave rise to epic and lyric mythologists and poets including Homer and Hesiod, c. 800-700 BCE and Sappho (Hittite numinous, Attic Greek Σαπφώ) c. 650-600 BCE. Homer’s Iliad is the tale of the Trojan War (c. 1200 BCE) and the Odyssey is the hero Odysseus’s journey home from the war. But according to Harrison in Prolegomena to the Study of Greek Religion, rather than a starting point, Homer presents a “mechanical accomplishment, with scarcely a hint of origins.” (PSGR: vii.)

An archaic dedication from Samos known as the Geneleos Group is considered by scholars to be one of the first family dedications in Greek art, or, to be more precise, the first archaeological record showing an elite family in form of life size round sculpture in a sanctuary. Furthermore, it is one of very few archaic sculptures attributable to a certain artist – Geneleos. It is generally assumed that the persons shown are part of a family extending over two generations with the iconography highlighting the different social role models of its members: mother, father, son, and daughters. In this paper, I will try to question this common reading by proposing alternatives, triggered by the ambiguous iconography of the figures and by the placement of the inscriptions related to them.

Feels free to ask me for a pdf.

Translated by Sasha Newborn. We have only scraps of Sappho's 16 books. Plato called her the Eighth Muse, but the Byzantine Christians found her openness and sexuality to be abhorrent. Sappho created the lyric poetry we know today, and few achieve what she did with few words.

In the opening essay of the collection, “Sappho’s Public World,” Holt Parker argues against the view common in recent scholarship that Sappho’s poetry is concerned exclusively with private matters such as weddings and love affairs. Parker cautions, rightly, about the dangers of projecting onto Sappho notions about an “essentialized” image of woman. While he acknowledges that what remains of Sappho’s poetry is primarily concerned with traditionally “feminine” concerns, he argues that Sappho’s references and allusions to public and political life ought to be taken into account within the context of her body of work. Parker points out that Sappho’s concern with defining the noble man, and with ethics in general, reflects the degree to which the public world of aristocratic values and friendship is an important component of her poetry.

Le interfacce conversazionali hanno acquisito un ruolo pervasivo in molti settori. Sono i chatbot che supportano nell’acquisto di un prodotto, gli assistenti virtuali utilizzati a scopo terapeutico o i sistemi di dialogo che consentono di effettuare transazioni all’interno di un qualsiasi servizio di messaggistica. Alcune, sempre a portata di mano, rendono le attività quotidiane più semplici e coinvolgono l’utente grazie alla propria personalità e a connotati antropomorfi: le voci di Alexa, Siri, Google Assistant e Cortana sono ormai familiari.

Le interfacce conversazionali si rivelano in grado di ridefinire anche l’esperienza educativa. Offrono supporto al docente, accompagnano lo studente nel processo di apprendimento e consentono di confrontarsi con innovazioni tecnologiche che ancora faticano a trovare il giusto spazio nel curricolo scolastico. Un assistente virtuale può cambiare il modo di approcciarsi allo studio della letteratura, trasformando la tradizionale fruizione dei contenuti disciplinari in un itinerario narrativo sempre diverso e personalizzato. La conversazione con un autore del canone letterario o con il personaggio di un’opera è un mezzo versatile per costruire ed elaborare la conoscenza, un’occasione per stabilire una relazione con il passato connotata da inaspettati risvolti empatici.

In queste pagine il lettore avrà modo di conoscere una serie di metodologie e strategie didattiche utili per abilitare tale processo, tra le quali l’apprendistato cognitivo, l’apprendimento per scoperta e il digital authentic learning. Imparerà, inoltre, a realizzare un alter ego della poetessa Saffo o muovendo i primi passi nel campo dell’AI grazie alla piattaforma Dialogflow.

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In the era of automation conversational interfaces have come to play a pervasive role in many sectors. From chatbots that support online shopping experiences, to virtual assistants used for therapy to dialogue systems that enable transactions within any messaging service. Some of these interfaces, ever-present and only a touch of a finger away, simplify daily tasks and engage the user thanks to human-like traits and personalities: the average user is growing increasingly familiar with the voices of Alexa, Siri, Google Assistant and Cortana.

Conversational interfaces can also redefine the way we experience education. They can support teachers, guide students through the learning process and constitute a bridge to technological innovations that are still struggling to find their right place in school curricula. A virtual assistant can transform the approach to the study of literature, replacing the traditional fruition of texts with a narrative journey that is personalized and never the same. Conversation with a canonical writer or with a literary character is a versatile means of building and processing knowledge, an opportunity to establish a relationship with the past marked by unexpected empathic implications.

This paper introduces a series of methodologies and teaching strategies that can enable this process. These include cognitive apprenticeship, discovery learning and digital authentic learning. The reader will also approach the field of AI to learn how to create an alter ego of Sappho using Dialogflow.

Sous la direction d'Andrea Oberhuber. Lire: https://papyrus.bib.umontreal.ca/xmlui/handle/1866/23737

RÉSUMÉ
Valentine Penrose est une poète, romancière et collagiste surréaliste moins connue que certaines de ses homologues telles Frida Kahlo ou Claude Cahun. Si les quelques études qui lui ont été consacrées reconnaissent l’omniprésence du féminin et le caractère inquiétant de certaines manifestations de la femme dans son œuvre, les sources de ces représentations n’ont guère été explorées. Pour combler cette lacune, notre mémoire s’applique à analyser l’œuvre de Penrose afin d’y mettre en lumière la présence textuelle et picturale du saphisme littéraire et du roman gothique, deux influences majeures de l’auteure-artiste. En plus d’étudier en détail les collages insérés dans le recueil de poèmes Dons des féminines, nous explorerons également les nombreuses images in absentia du corpus, car nous constatons que l’écriture penrosienne a très souvent recours aux effets de style « picturaux ». Par conséquent, au fil de nos analyses, nous allons osciller entre une étude littéraire et une approche intermédiale des rapports texte/image, afin de mettre en relief la réactualisation polymorphe de deux traditions ; la présence du saphisme et du gothique transparaît à travers l’emploi de certaines figures de femme, les partis pris thématiques de Penrose, le choix des décors et des trames narratives. Au terme de la présente étude, nous aurons mis en évidence trois figures de femmes propres à l’univers penrosien : la femme-nature, la fugueuse et la rebelle exemplifient, à nos yeux, la manière dont l’œuvre de Penrose se situe à la croisée du saphisme littéraire et du roman gothique.

ABSTRACT
Valentine Penrose was a surrealist poet, novelist and collagist, less well-known than many of her female counterparts such as Frida Kahlo or Claude Cahun. Albeit few, there are studies on Penrose that recognize both the omnipresence of women and their often disquieting portrayal. The origins of these representations remain, however, largely under-explored. In order to fill this considerable lacuna in existing knowledge on Penrose’s work, this thesis will analyze her œuvre, highlighting the textual and pictorial presence of two major influences: literary Saphism and the Gothic novel. In addition to analyzing the collages that accompany the poetry in Dons des féminines, we will also study the corpus’ many images in absentia, as we believe that Penrose’s style very often has recourse to “pictorial” literary devices. Consequently, throughout our analyses, we adopt both a literary and an intermedial approach, looking closely at both textual and pictorial representations of women in order to demonstrate the polymorphous borrowing of two traditions; Saphism and the Gothic appear via the representation of certain characters, Penrose’s thematic biases and the choice of particular spatial environments and narrative structures. The present study thereby sheds light on the representation of three female figures specific to Penrose’s universe: the woman of nature (la femme-nature), the fugitive (la fugueuse) and the rebel (la rebelle) each exemplify the way in which Penrose’s œuvre is located at the crossroads of literary Saphism and the Gothic novel.

Collected and translated from Ancient Greek into Turkish with an introduction, notes, glossary, and indices, an anthology of Archaic Greek Poetry to exemplify the archaic aesthetic, including Homeric Hymns, Archilochus, Callinus, Semonides, Tyrtaeus, Hipponax, Mimnermus, Solon, Theognis, Alcman, Stesichorus, Ibycus, Sappho, Alcaeus, Sappho or Alcaeus, Anacreon, Simonides, Korinna, Praxilla, Carmina Popularia, Carmina Convivalia, Bacchylides, and Pindar.

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Bu kitap bir şiir antolojisidir, sözcüğün Yunancadaki anlamıyla şiirin bir “çiçek-dermesi”dir. Homerosçu İlahiler’in huşu veren buhuru, Arkhilokhos, Semonides ve Hipponaks’ın taşlamalarının keskin aromasıyla karışır; Kallinos ve Tyrtaios’un askeri teşviklerinden heyecanlanan okur, Solon’un yahut Ksenophanes’in bilge dizelerinin ferahlatıcı deminde soluklanır. Theognis’in kadim sofralarında, aşk hasretiyle kavrulan Mimnermos, Sappho, Alkaios ve Anakreon’un rayihaları yarışır. Bu bir demet çiçeğe kulak verenler Alkman, Stesikhoros ve Ibykos’un anlattığı mitlerin kokusundan sarhoş olur. Simonides yeğeni Bakkhylides’le birlikte Keos’un ıtırlarını sunarken, Pindaros Thebai’ın geniş düzlüklerinin eşsiz goncalarıyla rakip olur onlara. Korinna ve Praksilla’nın tenlerinde kadınca sedalar tüter ve daha nice isimsiz şair kendi kokularıyla temsil edilirler. 2750 yıl önceden 300 yılı aşkın süre boyunca kokularla Yunan dünyasında bir seyahattir Arkaik Yunan Şiiri!

Ebat: 13.5 x 21 cm
Sayfa Sayısı: 592
ISBN: 978-975-08-4132-3
Fiyatı: 42 TL
Kâzım Taşkent Klasik Yapıtlar Serisi 98

Nova edição (a 1a é de 2011), aumentada, revista, atualizada, bilíngue. (Editora Hedra: Reunião de textos remanescentes da mélica de Safo, ou seja, as canções para performance ao som da lira. Os textos aqui são traduzidos e anotados por Giuliana Ragusa, autora que ganhou o Jabuti 2006 com um livro sobre a lírica da poeta, a única mulher entre os grandes da época. Para esta edição foram selecionados a única canção completa e os fragmentos mais legíveis de canções do corpus de Safo. As anotações de leitura buscam lançar luz sobre elementos relevantes da estrutura, conteúdo ou transmissão dos fragmentos organizados tematicamente. Precede a tradução anotada uma introdução sobre a poeta, sua poesia e o contexto em que se produziu e circulou, o gênero mélico, a fortuna crítica sobre ela, a transmissão de sua obra, e as outras poetas mulheres de que se tem notícia).

Tradução de todos os fragmentos minimamente legíveis da poesia mélica ou lírica arcaica de Safo (c. 630-580 a.C., ilha de Lesbos), acompanhada de anotações de leitura e precedida de uma longa introdução sobre a poeta, o gênero poético, o contexto, as poetas mulheres da Grécia antiga, a transmissão da obra de Safo.

Translation of the readable fragments of the archaic melic or lyric poetry of Sappho  (c. 630-580 BC, Lesbos), with reading notes and a detailed introduction to the poet, the genre, context, women poets and the transmission of Sappho's songs to us.