Prostitutes Ennepetal,

Illustrations: Davidson , fig. The dangers of this type of assertion are shown by a damaged stele found in Porto Rafti and now in the museum in Brauron BE 6Prostitutes Ennepetal. BF neck amphora.

Tests on their blood alcohol showed they were more than four times the legal drink-drive limit. The fire service found that carbon dioxide levels in the electric sauna were normal while prosecutors do not suspect Prostitutes Ennepetal play.

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Celebs TV Films. US Celebrity News. In Your Area. Got A Story? Sauna deaths: Christmas drinkers die after passing out in sauna following party. Jonathan Symcox. Prosecutors said the Prostitutes Ennepetal, aged 48, 38 and 36, seem to have succumbed to heart failure.

Follow Mirror. Similar attitudes are easily found: oral sex is widely viewed as not real sex by American teenagers and at least one former president. Here again, it is interesting to see Prostitutes Ennepetal fusion of Foucault with Dover. Cohen — According to the findings of Sir Kenneth Do- Prostitutes Ennepetal, anal intercourse which never appears when intercourse between adults and paides is depicted on vases seems to be reserved for relations between adults.

Does this finding necessarily mean that anal intercourse was socially prohibited in the case of paides? Might one not assume that the iconography represented images better suited to highlighting the affective aspect of the pederastic relationship, almost as if to point out and emphasise the importance and nobility of this relation- ship, Prostitutes Ennepetal it with the Prostitutes Ennepetal physical one which linked two adult lovers?

In the light of these pieces of evidence [treated below], so diverse and far from each other in time and yet so consistent, how could it Prostitutes Ennepetal thought that the pederastic relationship did not envisage and should not Prostitutes Ennepetal anal penetration of the pais? Davidsonesp. Vase painting is, however, not Prostitutes Ennepetal photography, but an artistic genre; through a language of repeated elements, it presents a certain vision or version of practices, just as literary genres do.

In general, it presents a highly idealized vision of elite males and their activities. In this light, it is best to ask why vase painters preferred to represent intercrural rather than anal intercourse. This, however, is almost exactly what Dover said and which has been ignored : An interesting contrast between heterosexual intercourse and the intercru- ral activity ascribed to erastes and eromenos by the vase-painters suggests itself. In Prostitutes Ennepetal copulation, on the other hand, the eromenos stands bolt upright, and it is the erastes who bows his head Prostitutes Ennepetal shoulders.

Married couples in plays and movies were almost always shown in twin beds. We would be equally wrong to assume Prostitutes Ennepetal no married couples slept in twin beds and that twin beds were an idealized piece of elite funiture or something invented to cover up the Prostitutes Ennepetal reality. Some of the thinking is muddled because people are not talking about the same things. We need to distinguish three levels: 1 What the Greeks did. We can never know what the Greeks actually did in the privacy of their own rooms.

We cannot know what our friends and contemporaries are doing, even in this age of surveys and surveillance. And if a couple went a bit further, even if some suspected, the Prostitutes Ennepetal might not be bad, provided no one Prostitutes Ennepetal about it. But my disobedient soul rejoicing has flown up in the air and cannot contain the good. No, I will say it, please forgive me: He gave in!

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Socrates famously exhibited superhuman self-control when it came to boys, even the irresistible Alcibiades Pl. We would be wrong to smirk and think we know that no one really behaved that nice- ly. Some presumably Prostitutes Ennepetal not, Respectable erotic relations between men and boys preserved the social fiction that the man fucked the boy only between the legs, never in the ass—or, God forbid, Prostitutes Ennepetal the mouth.

It was not a question Prostitutes Ennepetal what people actually did in bed the boy was conventionally assumed, I suppose, to be anally receptive to his older lover, although De Vries has plausibly suggested to me that some high-minded lovers may not in fact Prostitutes Ennepetal required their boyfriends to go through with the act of anal sex ; rather, Prostitutes Ennepetal was a question of how they behaved and talked when they were out of bed.

Maxwell-Stuart for an appreciative reading. Dover n7, citing Lucian Philosophies for Sale How dumb do you think I am? Even Pausanias, that romantic lover, says boys should not be caught too quickly Symp. Aeschines advises the jury 1. Just as the hunter passes by the wounded hare or doe, So is my desire: it knows how to pursue what flees, but what lies in the middle of road, it flies by.

Callimachus AP Easy boys, says Strato, are no challenge AP So here we have our first disjunction between written and visual evi- dence. The first three all come from a single Prostitutes Ennepetal in Athenaeus Also in Plutarch Erotic Essay Amat. Also Plutarch Erotic Essay Amat. From Ps. The last word is corrupt.

Dover But above his tender thighs, which hold rag- ing fire, make a simple modesty already wanting the Paphian goddess. The comic poet is unknown. Here, thighs are only a way station to the goal of anal intercourse.

Later variants in rough chronological order: AP AP Probably the same type of innuendo at Strato, AP The pun on Homer at AP One might also cite AP Scholia to Pythian 2. Examples: Plato Phaedrus Prostitutes Ennepetal, e—34c the speech of LysiasSymposium a, a—c, d, ab, de, Prostitutes Ennepetal, a, d, Euthd.

Henderson Dover Prostitutes Ennepetal, 48, 53—54, 83 on the gen- eral indirectness of Prostitutes Ennepetal texts. Were the couples of the Theban Sacred Band sodomizing one another on the eve of Chaeronea? Was Solon celebrating buggery in his poetry? Pausanias has found a way to valorize an otherwise despised relationship by sneaking it into the accepted pederastic ideal. No wonder those rubes in Aristophanes figured pederasty was a high- falutin pretense for buggery.

Sextus Empiricus, Hypotyp. Its three earliest literary occurrences are in the Birds. In [] it refers unambiguously to vaginal copulation, as Do- ver recognizes.

First, erotic scenes even broadly defined are in fact rather rare compared to the total body of Attic painted pottery. Our focus on them sometimes makes it seem as if Attic figural pottery had no other subject. Second, even within the world of courting and Prostitutes Ennepetal, nudity and nature, scenes with explicit sex acts are relatively uncommon.

A detailed treatment in Parker forthcoming. Even though it Prostitutes Ennepetal be thought an obvious if unreliable form of birth control. See Dover 99; Bremer39, 47— Postures of lovers Prostitutes Ennepetal vase-paintings seem to support this idea, as do the few references to thighs in pederastic poetry. This evidence, however, is slight and depends on reading into the fragments their lost context.

Lear This is a popular scene in Attic black-figure vase-painting; and the chief group recurs, with comparatively slight variations, on Prostitutes Ennepetal vases. In most of them it is made plain that the wooer hopes for a prompt recompense. All of the vases that Beazley listed are of interfemoral Prostitutes Ennepetal not anal. So we have twenty-seven black-figure vases clearly featuring interfemo- ral sex.

See the Catalog. This list can be expanded using the catalogs of DeVries in Lear —Hupperts Prostitutes Ennepetal, 1: Prostitutes Ennepetaland the Beazley Archive. Thus in the absence of explicit description or a photograph it is not always possible to determine exactly what activity is going on. London, British Museum, Painter of Berlinc.

Figure 1. So Shapiro in the first Prostitutes Ennepetal a : Two kinds of intercourse are Prostitutes Ennepetal pointedly juxtaposed. At the left, a boy bends over Prostitutes Ennepetal be penetrated anally by a much bigger, more muscular youth. It has certainly drawn the attention of a youth at the center of Prostitutes Ennepetal scene, who Prostitutes Ennepetal a hare as a Prostitutes Ennepetal gift, but now finds Prostitutes Ennepetal suddenly without a partner.

Perhaps the object of his Prostitutes Ennepetal is the very boy who has been abruptly overpowered by a much stronger youth. The manner in which the boy braces himself against the fictive wall of the picture panel may be paralleled on many contemporary Prostitutes Ennepetal scenes of copulating heterosexual couples e. Dierichs 74, fig. Both DeVries and Schauenburg n1 give the number as Athens but I have not been able to trace this on the Beazley Archive or elsewhere.

A ninth kylix is likely, but too little except for feet remains to be sure: Rome, Villa Giulia, BAHupperts Prostitutes Ennepetal Golden n Exposition Marie Laforet, S. Oxford, Ashmolean BAARV The beardless figure in the middle is very odd. He seems to have been bunged in from a different vase. No one knows what to make of him; indeed he seems not to know what to do with himself. Scholars are uncer- tain if he is intended to represent a youth who has received a gift or a hope- ful erastes offering a gift.

His right arm is bent at the elbow to fill in the triangular space. I can find no good parallels to these oddities of composition. Some of the scenes of interfemoral intercourse seem to be given a natu- ralistic setting in a gymnasium. For example, a skyphos by Amasis 53 seems to show all the clues—arybaloi and wreaths hanging from the Prostitutes Ennepetal in the middle of each side there stand two naked women both holding wreaths, one of whom is being pre- Black-figure seems to provide fewer visual Prostitutes Ennepetal about setting: 4 arybolos.

Peace —63, Clouds —78; Pl. Though Alcibiades Pl. Lysis b. Despite this picture, women, even naked hetairai, could not Prostitutes Ennepetal found in the gymnasium Lear and Can- tarella It can also be unclear how far a scene is intended Prostitutes Ennepetal stretch.

So on 4: on either side of the couple one youth holds an arybolos, another a lyre, but as we read around the continuous band we come to two naked dancing male figures and a clothed woman. Wreaths, therefore, do not unequivocally indicate athletic victory, nor do aryboloi, nor strigils, and so forth.

In another quasi-realistic setting the couple are surrounded by two cloaked hunters with spears and dogs; the erastes is engaged in interfemoral intercourse and yet has managed to hold onto his shaft In virtually every instance of interfemoral intercourse in black-figure the copulating couple Prostitutes Ennepetal shown with or flanked by other men, who are frequently shown dancing.

The bodies of flanking figures are oriented towards or away from the couple; their heads may or may not be facing the same way as their bodies. The postures are rather widely various. Both flanking figures turned away: 15, 17, Prostitutes Ennepetal, Both flanking figured turned Prostitutes Ennepetal 2, 12, 19, 22, 27, [38]. Berlin, Antikensammlung F On a skyphos from Olbia 18, fig. Single Prostitutes Ennepetal, turned away: 5.

Three L towards, thee R away: Isolated couple with man—woman intercourse to R broken to left : Isolated by columns: The wide variety of orientations shows Prostitutes Ennepetal we are not looking at a depiction of social practice were we tempted to think so but at a stylized way Prostitutes Ennepetal filling up space.

The armorial animals 8, 11 show this clearly. Qwarns us against facile readings : Yet these pictures are not a sixth-century Kinsey Prostitutes Ennepetal, and drop heavy hints that Prostitutes Ennepetal are not always to be taken literally. One doubts that Athe- nian men often stood inline to copulate, often held their partners unsup- ported in midair, often had group sex in vineyards conveniently furnished with symposion couches.

Lear explicates what may be the iconography : Indeed, one could view Prostitutes Ennepetal vase as presenting a dictionary Prostitutes Ennepetal sexual posi- tions.

In this dictionary, however, there is only one position for pederas- tic intercourse: intercrural. That, we would claim, is the message of this scene—on this point—and the implicit message of the courtship-related intercrural scenes illustrated above: intercrural intercourse is the only means of consummation for pederasty, Prostitutes Ennepetal for decent, courtship-based pederasty.

But suddenly in red-figure there is a set of changes. First, the pool shrinks to only eight examples 39—46of which only two are certain 43, 44plus three likely fragments 39— Petersburg, Hermitage, O. Man and youth in interfemoral intercourse, youth behind Prostitutes Ennepetal touches the couple. Flanked by dancing men and women. Photo: Svetlana Suetova, Konstantin Sinyavsky. These are dubious evidence of human behavior at best, and it is far from clear that they were intended to show interfemoral sex.

Second, in red-figure we find a new convention: the couples are shown alone. The exception is this pelike by the Eucharides Painter 44, fig. DeVries 3. So, too, Boston, Museum of Fine Arts However, on Boston Boardman Boardman Prostitutes Ennepetal La Rocca consequently argues that these figures should be viewed as vertical.

It is neither. He is Prostitutes Ennepetal over and seen from behind so that, in extreme foreshortening, between his splayed legs appear his anus, his testicles and penis, and his belly, and to the left his shoulders and the back of his head. In the centre dances a naked youth. Exterior unattributed, c.

Ithy- phallic youths. Two bumping buttocks while a third stands behind them, guiding. Draped and naked youth dancing. Patrizia Petitti. The setting is marked as a gymnasium by the race course turning point stele, the suspended sponge, alabastron, and strigil. The odd squatting fig- ure to the right of the couple, his eyes cast down Prostitutes Ennepetal away, has been Prostitutes Ennepetal ously interpreted, most often as a slave.

His averted head joins with his being asleep to underline his status as a nonwitness and confers a furtive character on this encounter. Is this to suggest that Keuls —94; fig. London market.

Eucharides P. Or, rather, does this conjunction of the shown and the nonseen indicate Prostitutes Ennepetal what the image shows us is not the precise act as it Prostitutes Ennepetal unfolds?

In intercrural copulation, on the other hand, the eromenos stands bolt upright, and it is the erastes who bows his head and shoulders.

Boston, Museum of Fine Arts To the left, a bearded man, slightly bent at the waist, wearing a wreath and an elaborate fillet, Prostitutes Ennepetal his cloak thrown off his right shoulder exposing his torso, is reaching around and behind the shoulder of another figure. We can see Prostitutes Ennepetal tip of a nose and chin and lips. The figure is smaller and undoubtedly male, wear- ing a red ribbon. Can we then, despite all these stylized and unrealistic attributes, read the figures as evidence of a praxis, a real way that real Athenian men had not quite real sex with real Athenian Prostitutes Ennepetal I think, with due caution, we can, and this is because of the centrality of the human figure to Greek art.

As Lissarrague and Schnapp note : In the Greek imaginary,81 space comes from the represented subject, from the representation of the human body. The body of persons—men and women, gods and goddesses, monsters—is at the center of representation. The Prostitutes Ennepetal, with its roads, its places, Prostitutes Ennepetal fountains, is strangely absent.

All indicators of space— indoors or out, town or country—are uncommonly Prostitutes Ennepetal. A colonnade or a step suggests a building; a piece of furniture, an interior. The setting of the image has the almost abstract purity of modern theater. This curious abstraction of space gives its place over to human representation. Is he just napping while his friend or his slave-master has a bit of fun, as many have suggested?

A walking stick and sponge? Contra Lear —84, fig. Used in the generalized Lacanian sense of Prostitutes Ennepetal culturally shared set of images. So too should an example of an unnatural stylization of a natural sexual action, which I have not seen discussed. Such a posture is not, I suppose, impossible, but it would require extraordinary stamina.

It is not likely to be the actual way Greek men bedded Greek women E—G, cf. Did Athenian men discover the chemistry of red- figure painting and lose interest in femoral frottage at about the same time?

Here a change in forms of Prostitutes Ennepetal is more likely than a change in experience. Anal Intercourse On the other hand, when the sources, both literary and popular, are explicit, they assume that Prostitutes Ennepetal penetration is the only form of intercourse between males.

On the concept of space in Attic Prostitutes Ennepetal, see Dietrich But cf. Keulswho does not quite grasp the picture. Knights—80; Thesm. As far as I know now, there are only four example of males in the act of anal intercourse with males on Attic pottery, Prostitutes Ennepetal in black-figure, all with difficul- ties of interpretation.

There are another four cf. Dioskorides 7 AP 5. See also Hender- son Henderson —15; Parker It seems to be used of both active and passive participants in Prostitutes Ennepetal sex. WaspsWealth — Rhianus 1 AP See Dover — There are also several cases which have been claimed Prostitutes Ennepetal anal intercourse or preparation for it that are not.

So besides the conveniently contrasting scenes on the White-Levy kalpis Awe have two so-called Tyrrhenian amphorae 47, The Tyrrhenians are interesting and anomalous within the corpus of Attic black-figure pot- tery.

We may also be able Prostitutes Ennepetal see something of the intro- duction and rise of erotic imagery. They appeared on many Corinthian Prostitutes Ennepetal, but not so often on cups as they do in Athens. Overall komasts are the most common scene on Prostitutes Ennepetal amphorae, fol- lowed closely by chariot races. The erotic scenes, however, are not charac- teristic of komast painters in general nor the Tyrrhenian group as a whole but only certain painters, notably the Timiades Painter and the Guglielmi workshop on Thasos, the island opposite: Lazaridis The pinax is nonetheless interesting.

On the left, a beardless youth bent at the knees and waist, facing left, supporting himself with his right hand on his knee. His left arm goes behind, possibly touching the back of the figure behind him. This is an adult man traces of a beard linealso bent. This seems to be only instance where the act of man—youth anal intercourse is presented simply.

See Appendix. Dover 99; Kilmer These finds tend to distort the picture of Tyrrhenian vases. Boardman See also Beazley 18; Smith Smith 33—73, esp. The first two examples are amphorae by the Guglielmi Painter, one in Orvi- eto 47the other Prostitutes Ennepetal Montpellier The scene is divided in the center by a hefty man with a large flaccid penis who looks toward the left and gestures toward the right.

He is framed by contrasting pairs of male figures. Toward the left, a long-haired man bends over and pats his rump invitingly as he turns back to face a man approaching with phallus ready.

Presented as a victim, he is smashed to the ground in a crumpled position. The aggressor, who seems to have a lighter beard, may be younger. The depiction of sexual relations between two male fig- ures is rare in orgy scenes. This black-figure vase painting, Prostitutes Ennepetal a flaccid, impotent man juxtaposed with another in Prostitutes Ennepetal excitement, Attribution to the Guglielmi Painter by A. Laurens see Kluiver 21, no.

Caution must be used since the vase Prostitutes Ennepetal heavily recon- structed including shards that belong elsewhere and repainted before Oddly Kuiver 77 does not notice the significance of both vases being attributed to the Prostitutes Ennepetal Painter.

The gesture, however, is common on all type of komast vases; it is merely part of the dance. See Smith index, s. Lear comments —25 : A scene of anal intercourse, with reversed age-roles: a youth though pos- sibly with a short beard penetrates a bearded adult anally. It may also be a scene of potential group sex: it is unclear whether the other figures are watching the Prostitutes Ennepetal action or waiting in line for a turn. No gifts Prostitutes Ennepetal present, nor is any other symbol or gesture of courtship.

There are no elements connecting the scenes to the gymnasium or hunting. All of the standing males have large penises. The hatchings for the beard are visible. Rather, courting male figures are sometimes flanked by ko- mastic dancers.

I find this line or reasoning plausible, but I would add a note of caution. Any argument Prostitutes Ennepetal linking then has to make a strong case that this time it is justified; see Lewis So on this vase 48the drunken orgy on one side is matched with Dionysius on the other. Lissarrague b; Lear —21, For the Gugliemi [sic] Painter and for his Prostitutes Ennepetal, who need not have been Greek this taboo was certainly not operating in the anticipated way. The same Tyrrhenian amphora by the Gugliemi [sic] Painter Prostitutes Ennepetal pro- vides the single case of anal penetration of an adult male by a youth.

The unstated assumption here is that this image must reflect reality. The important thing is not to be that represented person. Second, the idea that a value system cannot be in force if Prostitutes Ennepetal a single image contradicts it is very curious. That the image might be intended as a deliberate flout- ing of conventions, that it might be outrageous, shocking, funny, or silly, never occurs.

Far from showing that a value system cannot have held So far the examples. From the left four naked men, in increasing order of excitement it seems, approach a couple: the man is taking the woman from behind as she supports herself with one hand on a krater placed on the floor.

Not only do these scenes on Tyrrhenian vases seem to violate the rule just enunciated, viz. Both make use of a stool. On the obverse a woman traces of white paint lies on her back on the stool, her legs up in the air, while a man penetrates her. That is, I might well be mistaken in my analysis of, say, Navaho sexuality. But to assume that once I have correctly understood it, it will turn out to be exactly the Prostitutes Ennepetal as my own, reveals either essentialism or parochialism.

See also Lear — The swinging couple has been misread, principally because of its preposterous subject mat- ter, as male—female by Dierichs 52—54, fig. For the pose, one can compare the similar little Prostitutes Ennepetal band-cup also by Hermogenes 16where the male—female couple flanks a decorous man—youth couple engaged in interfemoral inter- course.

Once Riehen, Switzerland, collection Heinz Hoek. Unattributed, c. Photo after Hornbostel 85, no. Lest there be any doubt about the gender of the bending figure, his testicles are shown clearly beneath his buttocks.

Another Tyrrhenian vase is imminent, but Prostitutes Ennepetal very imminent that we might include it in the count. On Prostitutes Ennepetal neck of an amphora by the Timiades Painter 50, fig.

Both are wearing short tunics. This does not seem to be a case of komasts overlapping in the same pictorial space, and no other komast is shown in this bent-over stance. All the men are naked, all the women clothed. Their faces are close, as if about to kiss, and there seems to be eye contact.

The central couple is damaged. He seems Smith 43, 60 discusses the amphora but not the goings-on on the neck. Once Kurashiki, Ninagawa Museum Timiades P. Upper regis- ter: l Komast facing left holding a wreath. Image after Simon The third couple balances the one of the right. The beardless man penetrates the woman from behind. His left hand cups her breast and his right rests on her thigh. On the far right by the handle, male and female komasts. Her back is turned towards him, Prostitutes Ennepetal he is not shown Prostitutes Ennepetal.

The reverse shows a pair of dancers, man and woman, flanked by two male dancers, bodies turned to the outside, faces to the inside.

Here is it hard to make a case for a contrast between decorous and indecorous sex. The three scenes in red-figure are more difficult to read.

The first is a frequently discussed kantharos by Nikosthenes as potter 51, fig. Our primary interest for now is on Prostitutes Ennepetal pair of figures to the left of side A. I would draw attention to three points: 1 the breast line of the figure in question is drawn with the two scooping lines on the chest, and the line of the breast Prostitutes Ennepetal a little ways past the body line: the drawing resembles the breast of the Prostitutes Ennepetal female figure on the reverse contrast the drawing of the chest of the male figure at the far Prostitutes Ennepetal ; 2 the figure has lines running down the neck, apparently indicating a pendant of some kind: both the women on the reverse have these lines, while none of the men do; and 3 if the second figure is female, then Prostitutes Ennepetal have three youths and two women on both sides.

Given the uncertainties of even identification, proper interpretation may forever elude us. But I think we would be safe in saying that these scenes of excess, resembling the orgy of the Pedieus Painter 73, fig.

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Another beardless Prostitutes Ennepetal prepares to On the difficulties of so seemingly simple a matter, see Kilmer Prostitutes Ennepetal Rwhere the youths are as likely to penetrate one another as the female prostitute in the scene. Not, I think, mentioned before. Paris, Louvre G13, discussed below.

In fact, it may be that by concentrating on the presence of anal intercourse in these scenes, we are missing their more general value for our study. However, Vermeule 12 Prostitutes Ennepetal the standing figure as female the scrotum and tip of penis can be seenand Schauenburg 6 identified the figure behind the door as a youth. Brendel 39—42, and following him, Blanckenhagen 37 and Kilmer Prostitutes Ennepetal 45 takes the scene as directly based on an oenochoe by the Shuvalov Painter M : a young woman prepares to straddle a young man in a chair.

In both, one foot is placed on the chair itself: in 46 it is the left foot nearest the viewer; in M it is the right hidden foot. Nikosthenes Painter, Nikosthenes as potter, c. Youth pre- pares to penetrate a woman? Second youth preparing to insert a wine skin Prostitutes Ennepetal into woman bent over to fellate a youth, who Prostitutes Ennepetal a slipper. Three naked youths in pursuit of two naked women. Both are naked; both wear spiky crowns.

Since his legs are on the outside of the seated youth, anal intercourse rather than interfemo- ral is probably intended. The figures to their right are mysterious. After a thin Prostitutes Ennepetal column, a bearded man stands looking on, wearing a crown with ribbons. Peering over the lower half of a Dutch door is a woman. Keuls read this as a scene in a male brothel though Prostitutes Ennepetal action seems to be outdoors.

Whatever the identification of the penis-clutching left figure Prostitutes Ennepetal hoplite, hunter, sailor or the bent-over left figure Thracian, Scythianthe Keulsfig.

This is clearly the case in the scene depicted in Figureeven though the customer and the male prostitute appear to be of roughly the same age. A youth is about to mount another, who Prostitutes Ennepetal seated on a chair. On the right a mature man and a woman are leaning on a cottage door, Prostitutes Ennepetal the scene in what is surely a male brothel.

For the Prostitutes Ennepetal, see Arist. Matheson for the likely argument identifying the figure as Ariadne. New Prostitutes Ennepetal, Metropolitan Museum, That the action on the krater is set at the Anthesteria is accepted by Kilmer 24 ; Lear is rightly skeptical. Harvard, Arthur M. Sackler Museum In Prostitutes Ennepetal no. Lear is again rightly skeptical. London, British Museum F Youth prepared to mount ithyphallic youth Prostitutes Ennepetal in chair. A bearded man with festive crown looks on?

A woman stands behind an open Dutch door. Millerwho covers fully the preceding bibliography. I stand at the ready, bent over.

Yet, might this be part of the joke? Of course, that fact could be changed tomorrow by a new discovery. This stylization—shielding the eromenos from the crudity of debasing penetration—should not surprise us. We would be incorrect to Prostitutes Ennepetal from sculpture and painting that no woman had pubic hair before Playmates were not shown with pubic hair untilalways carefully posed and airbrushed.

They remained objects of erotic reverie but were never shown in explicit sex acts, which were Prostitutes Ennepetal for the more degrading worlds of Penthouse and Hustler. So the Guglielmi Painter shows us a beardless man taking a bearded man 47 and a lightly bearded man taking a bearded man The Timiades Painter shows us a bearded man just about to take another bearded man Do these pictures sound the death knell for our way of understand- ing the structures Prostitutes Ennepetal Athenian pederasty?

Prostitutes Ennepetal 87, citing Xenophon Anab. See also Plato Phdr. Only twice, only in Aristophanes, and neither passage is clear testimony of an established custom. We fly and help lovers. Men in love have spread the legs of many beautiful boys who had sworn not to until the end of their bloom with the aid of our power.

One gives a quail; another a coot; another a Prostitutes Ennepetal another a rooster. First, there is Prostitutes Ennepetal anal penetration, not the intercrural copulation which normally stands in as the Prostitutes Ennepetal substitute for that [an interesting assumption in itself ].

Second, the person Prostitutes Ennepetal the penetrating is obviously younger than the penetrated person, reversing the relationship which we have been conditioned to anticipate. Shapiro ; Lear —25; Sutton Dover ; Sutton —4.

However, it does show Prostitutes Ennepetal certain roosters could be worth stealing. Lear n39 also lists Aristophanes Knights —9 and —99 food as bribes to Demosneither of which is relevant. See Dunbar —4. That is, they swore to remain untouched until they were grown up and no longer under siege. However, there are no gifts of quail, coot, or goose from lover to beloved depicted on Attic vases.

Prostitutes Ennepetal good boys, just whores! What do they ask for? Maybe a good horse, or hunting dogs.

Marienheide 16 km, Iserlohn 18 km, Wipperfurth 19 km, Radevormwald 19 km, Ennepetal 20 km, Hagen 20 km, Balve 20 km, Hemer 20 km. tutes; that they formed the lowest class of prostitutes, that they would play music early in the evening, then later have sex with the symposiasts, and.

Again there is a disjunct between written and ing that this and Prostitutes Ennepetal goose are not game birds. Quail and rooster are fighting birds.

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Lysis e where Socrates declares that quail and Prostitutes Ennepetal, horse and dog, and even gold are less desirable than a friend. These gifts then are all desirable things but not specifically erotic, love-gifts, or asso- ciated only with youths. Csapo 21 claims that cockfighting was particularly associated with the young, but Prostitutes Ennepetal texts he cites do not bear him out.

However, birds for boys became a trope in the Second Sophistic for a lost Golden Age of non-gold-digging boys: cf. Barringer Geese are common but not in an Prostitutes Ennepetal or courting scene.

There are no horses or dogs being given as gifts to youths on vases. For a later gift of a dog to a beloved, see Theoc. Horses and dogs are depicted in vase painting, even in scenes with men and youths, but none are clearly being handed over as are roosters, deer, and panthers.

Koch-Harnack But, if she Prostitutes Ennepetal keep her self-respect, the car must not become hers nor must she live in the house or use its furniture until she is given his name.

He may give her all the jewels he can afford, he may give her a fur scarf, but not a fur coat. The scarf is an ornament, the coat is wearing apparel. It would be starting life on a false basis, and putting herself in a category with women of another class, to be clothed by any man, whether he is Prostitutes Ennepetal to be her husband or not.

Of course, gifts and briberies might be part of a dishonorable attempt at seduction of boys or women, e. The cocks are for cockfighting, the live hares and deer are Prostitutes Ennepetal to be released for Prostitutes Ennepetal hunting Koch-Harnack 80—82, — She claims that the leopards or cheetahs, or panthers were real presents and were used as hunting cats — We might believe that a trained fighting cock would make a nice present, but the idea that men could be seen Prostitutes Ennepetal Athens and environs handing over adult stags to young boys so they could release them for Prostitutes Ennepetal ing strains belief and is unknown to Greek hunting.

Leopards, et cetera, did not exist in Attica. Sutton So that Hoch-Harnack 94 no. Though in fact no one ever says so. Aristophanes mentions the rooster but not that it was a fighting cock. There are very many descriptions of or references to cockfighting in ancient Greece, and the sexual symbolism of defeat and buggery is clear Dem.

Against Conon, See SchneiderCsapo We need to specify exactly what we are being asked to believe: that men hunted live stags, captured them in nets? There is no indication of a wild setting in the depictions of deer being held by erastai.

That Athenian children kept cheetahs as pets has become something of a truism, despite the urgings of Prostitutes Ennepetal sense and the silence of the texts. Contrast the story of Aphrodite and Adonis. The artist plays on the hunting Prostitutes Ennepetal with the same agility as Plato, Prostitutes Ennepetal whom the philosopher hunts words onomata thereuein and is a hunter of the truth thereutes tes aletheias.

The limited range of animals reflects a limited range of desirable traits. Barrin- ger sums up : The various animal gifts presented by the erastes to the eromenos in Attic vase painting possess qualities associated with the giver and receiver; erastai should be virile and fight for their eromenoi, whereas eromenoi should be attractive and difficult to catch.

On one side we see a youth, sometimes identified as Pelops, in open mantle apparently running away. On the other side Poseidon, armed with trident, is running holding out a fish Lear What else would the sea god have to offer?

Schnapp ;esp. Animal gifts, most commonly hares and cocks, but also Prostitutes Ennepetal and felines underscore the metaphor. Dover 87—88 for sources. For the burning question of hares vs rabbits, see Schnapp — Koch-Harnack 63 assumes that frequency of representation reflects frequency of the type of animal gift. Citizen girls were off-limits; slaves were not courted, while courtesans and whores were unlikely to be persuaded by a rabbit, however nice.

Children, including girls, are shown with Prostitutes Ennepetal evidently as pets on tomb- stones and funeral lekythoi. In real life, a dead fox or a live cheetah would make a lousy gift. This is so, but it does not Prostitutes Ennepetal the lack of attention in the literary sources.

The more bizarre offerings, such as panthers, or stags, all force us to realize that these scenes are symbolic, not representational.

Apart from one Prostitutes Ennepetal differ- ence the depiction of the sexual consummation of courtshipthe stages, gestures, rituals and gifts of courtship were much the same whether the object was a boy or a woman. Neils and Oakley ; Kavvadias — no. The Cheramyes kore with a hare, c. For the same composition as 8, cf. BA Para The mere presence of dog s does not indicate a hunting scene. One person holds an aryballos and apparently Prostitutes Ennepetal spear; a figure with a dog holds a hare.

More properly, perhaps, this type of prop ought be labeled metonymy, and this pedantic distinction has some important implications. Synecdoche implies the reality of the object, an actual part Prostitutes Ennepetal whatever we are referring to; that is, synecdoche is inherently indexical.

Metonymy, as substitution, is inherently symbolic Andrews Certain elements can, furthermore, be detached from the scene-type in which they habitually occur and become a kind of symbol for that scene-type or for its Prostitutes Ennepetal. The same element will mean something quite different in a different context. A lamb may indicate Christ, St. And sometimes a hare is just a hare. Prostitutes Ennepetal later poets fondly imagined: Glaucus AP One man in each set Prostitutes Ennepetal three pairs holds out a hare.

The tondo features a seated youth, casually Prostitutes Ennepetal, with a hare in his lap and Prostitutes Ennepetal same gym-kit on the wall.

These scenes have a particular relationship to synecdoche. In a sense, they themselves are a synecdoche. There is little Prostitutes Ennepetal for gifts in pederastic courtship outside of vase-painting; indeed Prostitutes Ennepetal are only four references to it in textual sources, all in comedy.

Yet in the world of vase-painting, these scenes were for many years the main image of pederasty: this scene-type is a part which represents the whole of pederasty. However, I am not persuaded by the next move: Further, the animals which were commonly given by erastai to eromenoi in these scenes—of which the commonest are the fighting-cock Prostitutes Ennepetal the hare or rabbit—are so associated with pederasty in vase-painting that Prostitutes Ennepetal serve as a kind of synecdoche for pederasty: they break loose from their original significance as props with a concrete role in courtship scenes and become an independent indicator of pederastic interest.

In fact, two, as we have seen: n. The scenes Prostitutes Ennepetal the frieze make clear where hares come from, and here the youth has a hare. The hare was a prop on the outside, a synecdoche on the inside. This is a reasonable argument, but I am less certain, especially in other cases. So, to Prostitutes Ennepetal ourselves Prostitutes Ennepetal the works of Douris Prostitutes Ennepetalwe find an almost identical youth with a rabbit on his lap A and another youth writing in his tablets B on the exterior of a cup; but in the tondo, a young woman, with her dog, throwing her head back and singing with her barbiton.

She has noth- ing to do with pederasty or the youth or the hare. Barringer 95 tellingly cites Xen. Dover possibly just a generic tag. Vienna, Kunsthistorisches Museum, BAwith men and youths, one hold- ing a hare A, Bwhile the tondo shows an undraped youth looking at a girl holding two sprigs.

Athens, National Museum, When advancing a hypothesis we need to look for counterexamples. Prostitutes Ennepetal in fact, hares show up in any number Prostitutes Ennepetal places they are very com- One could argue with equal cogency that a hare signals a man grieving for his dead son. Vivenel, BA A sample: woman with a hare in a mourning scene on a white-ground lekythos: Athens, N. See Barringer 97, —6. Others: Hoorn nos.

Even panthers are shown: Hoorn no. Lear 36, correcting Koch-Harnack. The dangers of this type of assertion are shown by a damaged stele found in Porto Rafti and now in the museum in Brauron BE 6c. Rather than a father and his two sons as suggested by Clairmont, the iconography indicates various areas of masculine life and contest: hunting, warfare, and pederasty. The top gives the names of the father, Menon, and the son, Kleobolos, in the standard fashion. Clairmont was right after all—76 no.

For an analysis of the top before the join, see Milleker in Prostitutes Ennepetal Bothmer —26, no. For the join, see Despinis —92 and Bergemann no. See Gill for the intellectual cost of this type of looting. On one hand, the literary record is quite clear that such things were not done by civilized people. Theophrastus in his Character Sketches hints at such bad behavior. Other discussions in ancient authors are more about sex in the open generally among barbarians and the proper behavior of wives specifically: Dissoi Logoi 2.

But for a slave looking on, see Aristophanes Frogs — Literary descriptions of symposia are very decorous. Hippias Major a which I will take as genuine. The point is that Plato is not arguing about proper sexual activity; he is appealing to what everyone knows in order to prove his point.

On the images depicting sexual violence, see Kilmer ; Kilmer and —15; Prostitutes Ennepetal —25 counts five instances: 51 Nikosthenes74 Pedieus Painter75 BrygosR Foundry Painter, Prostitutes Ennepetal slipperand 57 Thaliabut the last is Prostitutes Ennepetal by Prostitutes Ennepetal, since the woman is using the slipper on the man.

Cup rims and the shoulders or bellies of closed forms provide a longer pictorial space and are more likely Prostitutes Ennepetal more able to carry what appears as uninterrupted space. The problem is what indicates shared space in Attic art. Sutton investi- gated the matter more broadly and showed that even some of what we con- sider the most basic clues—overlap of figures and actions, for example—do not necessarily apply to Greek depictions of space.

Lewis rightly distinguishes two distinct types of scenes: The first comprises images of men and women engaged in sexual acts in Prostitutes Ennepetal or non-existent settings. These are found almost exclusively on cups, and are usually playful in tone: naked men and women roll about on wine- skins and cushions, Prostitutes Ennepetal or copulate in sexualised play.

A lamia? In 75, a man seems to be threatening the conjoined genitals of a man and woman with a lamp. Does this point in the direction of outrageous behavior or specifically male on female violence?

Keuls —86 reads these scenes as abuse directed specifically at older, fatter prostitutes; so too Ferrari; Sutton —9; Lear See, however, Prostitutes Ennepetal critique by Lewis —5, who also notes that the violent vases constitute only a tiny fraction of erotic images and seem confined to a handful of painters.

See also Kurke — The playful aspects, including balancing acts with cups, and the lack of explicit setting should suggest that we are not Prostitutes Ennepetal to interpret these as scenes of reality: rather we are looking at a representation of the release of the symposium, a scenario in which inhibitions on behaviour are lifted. The Tyrrhenian vases and most black-figure fall into this category.

Even within this Prostitutes Ennepetal space, however, there is a natural tendency for the composition to break into individual couples. So for example, a black- figure kylix sitting on a phallic foot 60 has a continuous frieze showing twelve male—female couples having sex in a variety of positions. The space is filled with vine leaves at the top. There are no overt separations pillar, vines, etc. It does not reflect a change in human experi- ence or even a wish to defy common sensibilities.

Kilmer concludes about the features of black-figure 56—57 : Most of the collections appear to serve almost as menus of erotic variation; none that I know demands to be interpreted as a group engaged in sexual acts in one place at one time. In the black-figure examples couples are most often physically separate Prostitutes Ennepetal from another, which weakens any impression Prostitutes Ennepetal unity of place and time; they are set up in Prostitutes Ennepetal sort of parade order.

Objects depicted in the background, such as baskets and aulos cases[,] sometimes make reference Prostitutes Ennepetal sympotic settings, but other images show simple interiors, with stools and beds in the background. Lewis notes 95—96 : Citing Stewart ; Davidson 81—82; Landels 7.

Visual representations Prostitutes Ennepetal significantly in the early Hellenistic period. The image of a beautiful male—female couple, alone in a richly appointed bedchamber, replaces the orgy at the symposium. Scholars interpret this Prostitutes Ennepetal to one-on-one sexual representations as a reflection of the emphasis in Hellenistic society on the individual rather than the collective; the shift may also reflect the growth of the romance novel in this period.

See Lewis 91—, esp. Flute-players are frequently mentioned as entertainers, but not as sex workers; e. However, see Metagenes 4 KA. We do have Prostitutes Ennepetal scenes with naked women playing the aulos: Lewis n22, and many others. The shoulder bands broken by handles of the wild and wooly Tyrrhenian vases feature an undifferenti- ated space with fluid boundaries.

The continuous band encourages decoration with evenly spaced couples. The new isolated couples are all in the tondos of cups. This was surprising, since Herodotus and other and violence in the komos at the end of the session. Lewis On the false distinction of hetaira from mere prostitute, see Glazebrook and Henry 3—5; Glazebrook For isolated couples: Sutton no.

See also Paleothodoros Sutton 78, no. Merry dancers pass- ing among the lovers and on the Prostitutes Ennepetal of many vessels create a sense of wild abandon Prostitutes Ennepetal friendly Prostitutes Ennepetal spirit. Their lovers exist in a decorative world of visually discrete elements, either a single figure or a couple, that line up in a single plane without significant overlap.

Sutton 77, 77—78, 82, 88, no. Lewis, too, sees a chronological development : On the latest black-figure the subject becomes less popular, while in red- figure the scenes become more varied, both more detailed and explicit, and also more decorous: we now find sex in sympotic scenarios, usually more clearly delineated, and a move from group sex to individual couples, though this is gradual.

Both Prostitutes Ennepetal claims seem mostly incorrect. The first problem is what counts as group sex. Kilmer pointed out the problems 55—56 : This is a difficult category to deal with. There are relatively few cases Prostitutes Ennepetal which some variant of it is certainly occurring, but many in which it may be implied.

The question of the apparent orgy scenes is considerably more difficult. The question naturally arises whether these are intended as all happening in one place at one Prostitutes Ennepetal, or whether some other interpreta- Prostitutes Ennepetal is more likely.