By Alastair J. L. Blanshard(auth.), Maria Wyke(eds.)
Sex: Vice and Love from Antiquity to Modernity examines the effect that sexual fantasies in regards to the classical international have had on smooth Western tradition.
- Offers a wealth of data on intercourse within the Greek and Roman global
- Correlates the learn of classical sexuality with glossy Western cultures
- Identifies key influential issues within the evolution of erotic discourse from antiquity to modernity
- Presents a major and thought-provoking subject with nice accessibility
Content:
Chapter 1 creation (pages 1–6):
Chapter 2 bare our bodies (pages 7–33):
Chapter three Obscene Texts (pages 34–47):
Chapter four Erotic Rites (pages 48–64):
Chapter five Imperial Biography (pages 65–87):
Chapter 6 creation (pages 89–96):
Chapter 7 Greece (pages 97–108):
Chapter eight Rome and the West (pages 109–123):
Chapter nine Renaissance and Enlightenment (pages 124–142):
Chapter 10 19th Century and past (pages 143–163):
Chapter eleven Epilogue (pages 164–165):
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Additional resources for Sex: Vice and Love from Antiquity to Modernity
Example text
Beardsley’s own public involvement with Wilde, which had begun with the publication of Salome, also served to cement the association. The reaction of the public was swift. Crowds gathered and threw stones through the windows of the publisher’s office. Prominent authors contacted the publisher of The Yellow Book, John Lane, and threatened to withdraw their association with the press unless Beardsley was fired. In May, Beardsley was dismissed from the editorship and lost his main source of income. One of the results of this sequence of events was that London society was deprived of a collection of drawings for one of the most scandalous poems of Latin literature.
Some other differences between Greek and Roman art also support the idea of a tendency to a more marked heroism in Roman nudity. We mentioned earlier Naked Bodies 27 that the Parthenon frieze may include a depiction of the heroized war dead of the battle of Marathon. An alternative explanation is that it depicts a contemporary Panathenaic procession and the naked bodies are idealized versions of Athenian youth. Such interpretation is not without foundation. We find nude figures in other Greek reliefs depicting contemporary events such as sacrifices or battles.
Intriguingly, Beardsley was less interested in the scenes of bloodshed and destruction that dominate this book. Instead, his eye was caught by more minor details. The story of the death of the seer Laocoon and the abduction of the statue of Minerva by Odysseus seem to have been particular favorites judging by the number of drawings of the incident. The latter story is interesting for our understanding of Beardsley’s notion of classical desire given that in one version he plays up the way in which the statue, represented by a woman in flowing drapery, leaps into the arms of Odysseus.