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LOVE & RELATIONSHIPS - SCHOLARSHIP - Coggle Diagram
LOVE & RELATIONSHIPS - SCHOLARSHIP
SAPPHO
JANE SNYDER
Sappho presented the ‘female body as landscape for desire in an active sense, not merely as a passive object of male lust’
ELLE GREENE
‘Sappho’s fragments offer an alternative to the competitive and hierarchical models of eroticism common in male patterns of erotic discourse’
EMILY HAUSER
‘Plants and flowers were key to presenting women as desirable’
MARTIN WEST
Argues it was for ‘music and song for public as well as private performance’
FELIX BUDELMANN
‘A more or less institutional grouping of adolescent girls’
’Honestly’ according to him is an emphatic assertion to emphasise her plight, Loeb 31
DENYS PAGE
‘There is certainly no lack of control in the expressions whatever there may have been in the experience’
EMILY WILSON
’The tension between the self who desires and the self who notices…has been an essential element in the influence of Sappho’s poem on later writers of lyric’ Loeb 31
’Sappho’s poems emphasise the isolation of the individual, even within the group and even from herself’
‘The gaps in Sappho can be used as an image of male oppression’ Loeb 31
’If her work is universal, it is not because she invites us in…but because she shows us what it means to be excluded and alone’ Loeb 31
STANLEY KEITH
’A virtual invasion of Homeric words and phrases’ Loeb 1
THOMAS MCEVILLEY
3 ‘time levels’ which intertwine, consisting of, dramatic present, moment of departure recalled from the present and an earlier joyful time, remembered as having been remembered during the departure. Poem layers memories, causing all emotions
BARBARA GRAZIOSI
’No one who studies Sappho can ignore her modern context’
RICHARD HUNTER
’Her poetry produces an overwhelming sense of the poet’s almost physical; presence through her voice’
RUTH SCODEL
’Desire can be transmuted into the beauty of song instead of becoming social transgression and violence’
ANNE CARSON
’Sappho’s own ability to speak is mocked by the echo of her beloved’s ’sweet speaking’’ Loeb 31
SOPHIA CARVALHO
’Sappho’s love is personal, unlike love for a generalised army’ Loeb 16
PHILIP FREEMAN
’Brimming with aristocratic disdain’ Loeb 57
PLATO
GREGORY VLASTOS
‘We are to love the persons so far, and only insofar, as they are good and beautiful. This seems to me the cardinal flaw in Plato’s theory’
NICK DENYER
’Not just beautiful bodies, but also beautiful souls… also for beautiful laws… it ends only once it has reached the ideal form of the beauty, the beauty itself’
‘Socrates himself is a model lover, and therefore - oddly enough - a model of loveliness’
’So part of the attraction of the intensely attractive individual Socrates is something that in some ways is more universal than individual’
’An individual like him…will also therefore be as beautiful as a human being can be, and therefore as attractive’
MARTHA NUSSBAUM
’The lover soars upwards, becomes a better person, by means of his contemplation’
’Plato’s ascent leaves out of account and therefore out of love, everything about the person that is not good and fine, the flaws and faults’
’Love ought to feature three ‘positive normative criteria’: individuality, compassion and reciprocity’
ROBIN WATERFIELD
’Plato spends little time on interpersonal love as his purpose is to analyse what underlies it, and also what underlies everything we do’
LILLIAN WILDE
’The individual is reduced to a mere step on the ladder of love towards loving higher forms’
’No exchange of love takes place’
Plato’s works are ‘predominantly focused on a striving for perfection through beauty’
‘It is impossible to reduce Plato’s conception of love to a single definition’
LYDIA AMIR
‘What most people do not realise is that they cannot both hold Plato’s definition of love and expect a human being to fulfil it’
SABRINA EBBERSMEYER
’For Plato the erotic attachment to a beautiful person implies an inner tendency to self improvement and can be regarded as the beginning of an intellectual development’
OVID
ROY GIBSON
Ovid’s work is ‘an invitation neither to the libertine decadence of the whore, nor to the modesty of the matrons, Rather… it blurs the boundaries of these two traditional worlds’
’If true beauty needs no artifice, then Ovid’s pupils surely need artifice’
LINDSAY WATSON
‘Ovid constructs himself as an incompetent and ineffectual teacher, who regularly exposes his own ineptitude’ Ovid often undercuts his own advice
A SHARROCK
’All poems about sexual behaviour in Augustan Rome inevitably relate to the moral legislation’
CAROLE NEWLANDS
’Deception is depicted as an integral pleasure of the game of love’ in Ovid’s work
SHARON MARSHALL
’If love is a game…it is undoubtedly rigged in men’s favour…Ovid might just be trying to level the playing field’
SENECA
LIZ GLOYN
’Seneca is far more worried about behaviour that is against nature which involves extravagant displays, than he really is about sex desire’
’When it works well is grounded in mutual respect of each other’s potential for virtue and supporting each other towards that end’
’You cannot have a morally stable relationship if one of the participant believes that they are not held to the same standards of behaviour as the other participant’
’While love itself is an indifferent on its own, what gives it moral value is how it is applied and what it is grounded in’