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The present paper discusses the (im)permanence of objects and memory in Sappho and Alcaeus in the context of archaic Greek poetry and of their reception in antiquity. After a methodological introduction, the paper analyzes several texts by Alcaeus and Sappho, with special attention to the dynamics of proper names, family memories, and female kleos. The main texts analyzed are: Alcaeus fr. 140 Voigt; the unnoticed allusion to this fragment in Virgil, Aeneid 7.170–86; and Sappho fr. 98 Voigt. [ABSTRACT FROM AUTHOR]

The present paper discusses the (im)permanence of objects and memory in Sappho and Alcaeus in the context of archaic Greek poetry and of their reception in antiquity. After a methodological introduction, the paper analyzes several texts by Alcaeus and Sappho, with special attention to the dynamics of proper names, family memories, and female kleos. The main texts analyzed are: Alcaeus fr. 140 Voigt; the unnoticed allusion to this fragment in Virgil, Aeneid 7.170–86; and Sappho fr. 98 Voigt. [ABSTRACT FROM AUTHOR]

In this article the author analyses the characterization of Sibylla Schwarz as "pommersche Sappho". The aim is to carve out basic motivic structures as well as peculiarities of a Sapphic persona in poetry, on which Sibylla Schwarz was able to draw on in her writing and to which she is determined by her contemporaries and recipients when she is established in the literary world via the honorary title "Sappho". In doing so, it is shown that sapphic writing is bound to certain expectations, such as musicality and high quality of the poems, reflection on strong emotions, a – partly concealed – inclusion of female homoerotic undertones, and the thematisation of the possibility of being driven to death by the power of passion as well as the unbearable bittersweetness of love. In her poems Schwarz shows her knowledge of Sappho as a female role model for women writers, but does not define her poet persona primarily or emphatically in the succession of the Greek lyric poetess Sappho. Der folgende Beitrag setzt bei der Charakterisierung von Sibylla Schwarz als "pommersche Sappho" an. Dabei geht es um die Herausarbeitung motivischer Grundstrukturen sowie Eigenheiten einer sapphischen Dichterpersona, auf die Sibylla Schwarz in ihrem Schreiben zurückgreifen konnte und auf die sie von ihren Zeitgenossen und Rezipienten festgelegt wird, wenn sie über den Ehrennamen Sappho im Literaturbetrieb ihrer und kommender Zeiten etabliert wird. Dabei wird gezeigt, dass sapphisches Schreiben an gewisse Erwartungshaltungen gebunden ist, wie Musikalität und hohe Qualität der Gedichte, die Reflexion über starke Gefühlsregungen, eine teils verdeckte Einbindung weiblicher homoerotischer Untertöne sowie die Thematisierung der Möglichkeit, von der Macht der Leidenschaft sowie der unerträglichen Bittersüße der Liebe in den Tod getrieben zu werden. In ihren Gedichten macht Schwarz ihre Kenntnis von der Rolle Sapphos als weibliche Vorbildfigur für Literatinnen deutlich, inszeniert ihre Dichterpersona allerdings nicht vorrangig oder emphatisch in der Nachfolge der griechischen Lyrikerin Sappho. [ABSTRACT FROM AUTHOR]

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Michael Field, pseudonym of the late-Victorian poetic duo Katharine Bradley and Edith Cooper, created poems that operated as aesthetic hosts of artworks from previous centuries. The collection Long Ago (1 889) hosts the poetic fragments of Sappho, while Sight and Song (1892) transports the paintings of the Old Masters into a new, textual abode. The poems highlight the importance of proportionality iii the hosting dynamic, demonstrating how the host-guest relationship is formed by managing allotments of space. The form of Field's lyrics show-case this negotiation in action through choices based on length and repetition: for example, extending a Sapphic fragment into an eight-line stanza or into forty lines; deciding where, in the original poem, to feature Sapphot voice; and balancing literal description with impressionistic interpretation of paintings. The emphasis on form reveals how the poet-hosts manage their artist-guests through the poems' rhetorical shape. In terms of hospitality, these poet-hosts achieve a particular freedom by letting past artworks inhabit their modern-era words. [ABSTRACT FROM AUTHOR]

This paper deals with the so-called “Brothers poem”, fr. 10 Voigt = Neri, which is up to now the most recent papyrological discovery attributed to Sappho. In its first part, the paper investigates the identities, the actions, and the mutual relationships of the characters featuring in this new poem. In its second one, it will be discussed how the Sapphic lines deal with themes such as power relations, oppression, social hierarchy, and behavioral expectations in relation to genre.

Dans cette étude je commence par une réflexion sur le concept de traduction, ensuite j»examine brièvement la « traduction américaine » en tant que classification et puis me concentre sur une œuvre qui a été vue comme la « traduction la plus proche de l»original » des Héroïdes d»Ovide : la Primera parte del Parnaso Antártico (Séville, 1608) de Diego Mexía de Fernangil, une affirmation faite sans analyse détaillée préalable. Cet article examine la médiation existante avec une réécriture florentine des Héroïdes, celle de Remigio Nannini, et présente ensuite une étude de quelques fragments de l'épître de Sappho dans les trois versions concernées.

En ce qui concerne l'Antiquité grecque, le silence et la réduction au silence des femmes semblent être la règle. Les femmes sont elevées de sorte à se maintenir occultes à la maison et sur le métier à tisser, des tâches silencieuses, car elles ne doivent pas parler en public. L'homme a pour tâche de parler, de penser, d'être orateur, poète, musicien ou philosophe. Mais si nous écoutons attentivement, nous nous apercevrons que nombreuses sont celles qui refusent de se taire. Sappho de Lesbos est une de ces femmes de l'Antiquité qui élevaient la voix pour qu'on puisse l'entendre encore aujourd'hui, qui refusaient de se taire et s'occupaient d'une activité essentiellement masculine, la poésie - mais non pour parler comme un homme, mais pour, à partir de l'expérience de sa propre féminité, nous faire entendre les questions de son époque et de sa pensée. Dans une époque marquée par les guerres et les compétitions, Sappho amène Eros à ses vers, exprimant, selon notre hypothèse, la possibilité de relations différentes entre les personnes, des relations érotiques, des relations marquées par l'impulsion désirante par rapport à l'autre. Le présent travail vise donc à étudier certains des versets laissés par Sappho dans une perspective philosophique, notamment en ce qui concerne la présence d'Éros régissant les relations humaines. [ABSTRACT FROM AUTHOR]

This article explores three receptions of Sappho by Asian American writers, arguing that Sappho's fragmentation has made her a fellow immigrant in the eyes of these diasporic authors. Divorced from her social and cultural contexts on archaic Lesbos, Sappho signifies primarily as fragmentation itself, the loss of an originary whole. Theresa Hak Kyung Cha uses the corporeal fragmentation of fr. 31 LP in Dictée to interrogate the violence endured by the Korean people throughout the twentieth century, Hoa Nguyen ventriloquizes an always already fragmentary Sappho in "After Sappho," and Vi Khi Nao melds an array of fragmentary discourses in "Sapphở." [ABSTRACT FROM AUTHOR]

The relationship between Plato and the poets has prompted numerous reflections throughout the history of philosophy. One of the privileged dialogues for understanding this relationship has been the Phaedrus, as beauty, writing, and language are domains where philosophy and poetry converge. It is not surprising, then, that there are several allusions to poets from the epic and lyric tradition such as Homer, Stesichorus, and Sappho. We will argue here that the reference to Sappho in the Phaedrus, unique in the entire Platonic corpus, implies a commitment to the feminine poetic and erotic tradition, an understanding of it as a proto-philosophical stage, and the acknowledgment of Sappho's influence on Plato's conception of Eros. In this way, not only does the consideration of the relationship between Plato and the poets expand, but it also incorporates a perspective that has not been sufficiently addressed, namely, the feminine contribution to Platonic thought. [ABSTRACT FROM AUTHOR]

In 1894 a strange book titled Les chansons des Bilitis (The Songs of Bilitis) was published by the popular French writer Pierre Louÿs. A collection of erotic poetry, it began with an introduction that claimed the poems were found on the walls of a tomb in Cyprus and were written by an ancient Greek woman named Bilitis, a courtesan and contemporary of the ancient Greek poet Sappho. In fact, Loüys fabricated Bilitis and the majority of the poems in the collection. He cites some of Sappho’s real verses, but credits them to his invented Bilitis. To lend authenticity to the forgery, he listed some of the poems as “untranslated” in the book’s index, and included a bibliography with earlier translations of collections of Bilitis’s poetry, which were, of course, also false. Yet upon publication, the fraud eluded even the most expert of scholars. Perhaps most surprisingly, even when the literary hoax was eventually exposed, it did little to diminish the book’s popularity. Louÿs’s endeavor both challenges the ethics of “faithful” translation and raises the question: why didn’t readers care that Bilitis wasn’t a real poet?

According to Joël’s study from 1906, natural philosophy, religious feeling or thinking and poetry are not separate cultural phenomena, but rather are interrelated. This contradicts the prevailing view around 1900 and so his work can be understood as an attempt to develop a new view of cultural horizons. Joël sees “feeling” and “mysticism” directed at nature as the main impulse. These two terms, which were completely shaped by the psychological ideas around 1900, cannot, however, come close to the life of early antiquity and obstruct the view of the novelty seen by Joël: the determination of a special cognitive disposition of a time that permeates all cultural phenomena.

In this article we study a selection of Sappho's fragments from the combination of metrical and literary analyses, in order to research the different compositional strategies with which the poet constructs the poetic self in the texts. After some theoretical considerations, we will present the metrical analysis of each poem, to see how poetic self is constructed in them, and how both aspects reinforce or contrast with each other. [ABSTRACT FROM AUTHOR]

In this paper I take a look at two lyric poems: fragment 31 of Sappho and fragment 130B of Alcaeus. The first-person speakers in these two poems were commonly identified with their authors in antiquity. I argue that this was not the case when the poems were first performed on Lesbos. For the original audience these first-person speakers were general and would not necessarily have been identified with either Sappho or Alcaeus. Other people on Lesbos who performed these poems as songs could identify with them as well. It was only when the poems left the island and were reperformed in cities like Athens that the gap between first-person speaker and performer became so great that the question arose who the first-person speaker might have been. He or she was then identified with Sappho and Alcaeus, and the author, as the autobiographical subject of his or her poetry, was born. [ABSTRACT FROM AUTHOR]

The reception of Sappho in modernity raises a series of readings that explore various facets of the Greek poetess. This essay analyzes two works by María Rosa de Gálvez (her drama Safo and Poetry. Ode to a lover of the imitation arts) because they take into account the sapphic person and work, combined in the classic category of fame. An 18th-century woman writer projects the voice and figure of the ancient poetess into enlightened Modernity, with a new political and proto-feminist perspective. This projection shows that classical tradition operates as a multidirectional phenomenon, since it is channeled through a complex network of intermediate readings that involves different genres and traditions (Greek lyric poetry, Roman epistolary genre, French travel narrative, Spanish dramatic writing) and various translation strategies (translation from French and Greek as agents of reception). [ABSTRACT FROM AUTHOR]

This paper examines differing articulations of proto-lesbian identity in the long nineteenth century, in which educated, middle-class white women emulated the figure of Sappho in their writing and formulated Sappho-inspired communities through creative salons, societies, clubs, and social/literary networks. It maps the progression from the romantic friendships of the eighteenth century to the Boston marriages of the nineteenth century, to the beginning of the twentieth century, when love between women went from noble and virtuous to deviant and morbid sexual 'inversion'. The question is not only treated chronologically but geographically, the position of American-based women writers juxtaposed with the opportunities afforded by specifically 'Paris-Lesbos'. The following study maps these Transatlantic communities as early forms of 'Lesbian Nations' through their use of the 'Lesbian' poet. It engages in a form of Sapphic 'remembering,' questions how and who we remember, and contributes to current understandings of a 'lesbian' historical past. [ABSTRACT FROM AUTHOR]

This article examines Sappho's "Brothers' Poem" in relation to fragments 5, 9 and 17 and to fragments 129 and 130b.17-20 of Alcaeus to determine the possible contexts of performance. It is established by critics that these fragments would have been hymns performed in the sanctuary of the Lesbian triad. The hymnodic character of these compositions leads to identify resonances in the corpus of Homeric Hymns (1, 7, 12 and 33) on the basis of invocations, epithets and spheres of influence that converge with those of the Aeolian lyric. [ABSTRACT FROM AUTHOR]

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The purpose of this paper is to examine how Katharine Bradley and her niece Edith Cooper reinterpret the figure of Sappho in direct connection with the myth of Eros in Long Ago (1889), their first volume of lyrics written under the pen name of Michael Field. To this end, I select a series of poems addressed to the Greek deity of love, offer a close reading thereof, and prove that the Fields compose a dramatic mythography that explores the god’s paradoxical identity and, in so doing, reveals a timeless truth contained in the very essence of the Eros myth: love is an ambivalent phenomenon that creates, inspires and elevates as much as it destroys, oppresses, and kills.

Copyright of Journal of Media & Cultural Studies is the property of Journal of Media & Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to illustrate how the Michael Fields articulate their Sapphic poetry in Long Ago (1889) not only in keeping with their own Shakespearean aspirations and with Robert Browning's hybrid formula of dramatic lyrics, but also in connection with Jonathan Culler's theory of the lyric as a performative genre. Much recent scholarship has broken ground in the rediscovery and reappraisal of the Fields' literary stature, yet the general critical approach has been divisive in addressing their poetry and their verse dramas separately. Some critics have taken heed of how their lyrics in general exhibit an intrinsic dramatic temper, yet no systematic inquiry has discussed how this lyrical dramaticity is manifest in any particular instance. Thus, this article singles out Long Ago's second poem for its powerful performative energy, offering a close reading of each line, and demonstrating that it amounts to a hybrid dramatic lyric, as well as a tragic and transgressive performance in which a new Sappho takes centre stage as a Dionysian apologist of radical erotic fantasies. [ABSTRACT FROM AUTHOR]

Copyright of Antikvitás & Reneszánsz is the property of MTA-SZTE Antikvitas es Reneszansz, Forrasok es Recepcio Kutatocsoport and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Historia (07169108) is the property of Universidad de Concepcion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Victorian poet Algernon Charles Swinburne (1837-1909) is famous for his uniquely “bizarre” female characters. His contemporary critics as well as many of the researchers who touched upon his work have interpreted his female characters to be “obsessive,” “masochistic,” and in some cases even “sadistic.” Phædra is one of his characters who suffered the most because of this misconception. Rarely referenced at all, she has been regarded as a one-dimensional “masochist” who lacks psychological and emotional depth and whose only driving force is her desire for death. However, a close reading of Swinburne’s short poem reveals Phædra’s innermost anxieties and places her in the narrative of the Swinburnian femme damnée inspired by Les Fleurs du Mal of the French poet Charles Baudelaire (1821-1867). Swinburne’s “Phædra” is remarkable in that it also serves as an exceptional representation of Sappho (c. 630 - c. 570 BC) in Victorian England. This paper highlights Swinburne’s aversion towards the Victorian mock-morality, as well as some of his life-long influences. Furthermore, this paper defines Phædra in a new light by considering the classical originals, Sappho’s and Baudelaire’s works, and even a twentieth-century retelling by the Russian poetess Marina Tsvetaeva (1892-1941).