History of Sexuality - 18000362
Discuss some of the ways in which the sexualised experiences of the ancient Greeks are thought to
have differed from our own
The sexualised experiences of the Ancient Greeks did differ greatly from contemporary society,
although there are some similarities. This essay will focus on gender representation and how sexual
experiences were perceived differently according to gender roles in Ancient Greece. There are three
main topics this assignment addresses throughout. Firstly, the treatment of women in Ancient
Greece and their sexual role in society. Secondly, how mythology reflects the visual representation
and values of sexual experiences perpetrated in society. Thirdly, how homosexuality was perceived
and performed. These topics will be explained in detail and comparisons will be made, in order to
develop understanding on how the sexualised experiences of the ancient Greeks differed from our
own.
The literature of ‘Women in Ancient Greece’ is an exploration of women which is often an
overlooked group in Ancient Greece. Blundell provides us with the understanding of the position and
sexuality of women in Archaic and Classical Athens (Blundell, 1995). Though women played little or
no public role it is clear that women were an integral part of Ancient Greek society, thus, it is vital
that the experiences of sexualisation must be considered alongside that of men. Despite historical
writings being predominantly male, Blundell recognises that these sources profound in historical
research are mostly male and bias (Blundell, 1995). An eclectic use of legal documents, art and
literature are adopted by the author to expose the economic position and sexualisation of women in
Ancient Greece. The readers are exposed to the oppressive and sexualised portrayal of women as a
result of the production of male power. Powell says ‘although male gods regularly pursued mortal
women, it was altogether shameful for a goddess to consort with a mortal man’ (Meehan, 2017, p.
15), this shows the power and greater freedom of men and the constraints given to women.
Furthermore, the literature provides a detailed account of the role and portrayal of women in myths
and early literature. The introduction of goddesses are visually described as beautiful and ‘sexually
active but hostile, and the virginal but helpful’, this imagery is also given to the warrior women, the
Amazons (Cohen, 1992). The goddess Aphrodite is a visual representation that provides an insight
into atheistic practice and erotic culture (Arscott and Scott, 2001). The writer explains the body of
the goddess as ‘seductive in its contours, colour, texture or surface, irresistibly inciting feelings of
pleasurable excitation’ (Arscott and Scott, 2001, p. 233). This description suggests the female body is
presented as desiring, social subjects. Therefore, it is apparent that the portrayal of women in Greek
mythology perpetrates their treatment in society. This was typically associated with the downfall of
men which corresponds with the oppressive treatment that women received and mirrored Greek
patriarchal society (Arscott and Scott, 2001). As a result of these lessons it was important to keep
elite women in the domestic sphere and in control. Thus, text and art were ways of educating and
socialising people into their appropriate roles.
In retrospective, the writer also considers how Aphrodite represents intersections of female power
and feminine ambivalence. Therefore creating a juxtaposition of how art and visual imagery is
perceived and the ways sexuality, gender and social roles participate in the receptions and
production of art. Another interpretation is that of Rubins who views the depiction of the female
body in Renaissance artwork as sexually powerful with descriptions of ‘virtuous and praiseworthy’
(Muller, 1992, p. 229). In agreement, Woodall says the images of Aphrodite represent ‘an erotic
under weaving of the heavenly realm of the spirit with the early, material body’ (Muller, 1992, p.
247), connotations of virginity and purity are derived from this interpretation. The writing explores
topics of interest from a feminist point of view and the relationship between gender and art.
, One of the most popular mythical motifs in classical Athenian representation is the battle between
Athenians and the Amazons. The Amazons are represented as unruly female warriors, who deviate
from the expected role of women in Ancient Greek times (Man, 2017). They are seen as barbaric and
closer to the natural state and therefore more prone to sexual excess (Man, 2017). Thus, they must
be closely controlled and the myth shows them being defeated by Athenian heroes, showing the
male domination over them as they deviate from their passive female role (Man, 2017).
Many scenes portrayed in Greek art depict instances of graphic sexual behaviour. These images were
sometimes portrayed on interior floors and walls of provocative sexual encounters such as nude
men engaging in homosexual relations and scenes of older males with young boys (Dover, 1978).
However, these sexual relations prove difficult to interpret due to the fragmented and largely
anecdotal nature of the evidence. Therefore, it must be considered that the available information
may be unrepresentative, as it could represent the sexual experiences of the privileged and
aristocratic elite or it may be symptomatic of mainstream society.
Despite this, it was certainly the norm for men to be in both homosexual and heterosexual
relationships in Ancient Greece (Dover, 1978). However, these sexual attractions of men is very
different to what ‘bisexual’ men should experience today. In Ancient Greece it was not uncommon
for same sex relationships amongst men to involve an adolescence boy and an older man (Dover,
1978). In modern society this would be deemed inappropriate and legally unacceptable. The lack of
sexual exploitation and victimisation reflects cultural changes in societal attitudes and values.
Pederastic homosexual relations were also encouraged by the social elite, who would employ
younger males for sexual favours (Dover, 1978). Since young males lacked monetary resources and
may not be able to afford prostitutes or court respectable females, their outlet for sexual
experimentation were limited to relations with other males (Dover, 1978).
At the extreme end of the spectrum stood the elite fighting forces, such as the Spartan cadet corps
at the phiditia or the Theban Sacred Band of 600 elite warriors (Winkler, 1990). Among these groups
homosexual relations were openly encouraged as a means to reinforce the intense levels of
emotional bonding that were believed necessary to sustain military order on the battlefield (Winkler,
1990). A seemingly ascetic quality was assigned to this lifestyle by wider society, given that it was
admired and emulated by military elites throughout the Greek world (winkler, 1990). This in turn
places emphasis on the centrality of the military experience, what is referred to here as the ‘hoplite
mystique’, in Greek sexual experiences (Winkler, 1990).
In Ancient Greece female prostitutions were regularly used, whereby, cheap sex could be brought by
many brothels, streetwalkers and female ‘entertainers’ (Halperin, 1990b). In terms of prostitution
the main focus is arguably the sexual act and desires of men. Similarly, Greek males often exploited
female servants and slaves in their households which was a much cheaper alternative to exert their
power for sexual gratification (Halperin, 1990b). Thus, women are seen as a safety valve where men
can release their sexual tensions and frustration of everyday life (Halperin, 1990b). This was another
reason why brothels were so common and sex was so cheap so that even the more poorest of men
could afford to do this, for example soldiers. In comparison to contemporary society, prostitution
still exists. Although, connotations of men now going to brothels will arguably be labelled as being
‘dirty’ or ‘secretive’.
A shift to family life in Ancient Greece, the oikos refers to the Ancient Greek household, which
represented the economic and social unit of Greek society (Patterson, 1998). The man of the oikos
had absolute authority and dominance over its members and ownership would be passed down to
his sons (Patterson, 1998). Daughters would leave the parental oikos at marriage and their duty
Discuss some of the ways in which the sexualised experiences of the ancient Greeks are thought to
have differed from our own
The sexualised experiences of the Ancient Greeks did differ greatly from contemporary society,
although there are some similarities. This essay will focus on gender representation and how sexual
experiences were perceived differently according to gender roles in Ancient Greece. There are three
main topics this assignment addresses throughout. Firstly, the treatment of women in Ancient
Greece and their sexual role in society. Secondly, how mythology reflects the visual representation
and values of sexual experiences perpetrated in society. Thirdly, how homosexuality was perceived
and performed. These topics will be explained in detail and comparisons will be made, in order to
develop understanding on how the sexualised experiences of the ancient Greeks differed from our
own.
The literature of ‘Women in Ancient Greece’ is an exploration of women which is often an
overlooked group in Ancient Greece. Blundell provides us with the understanding of the position and
sexuality of women in Archaic and Classical Athens (Blundell, 1995). Though women played little or
no public role it is clear that women were an integral part of Ancient Greek society, thus, it is vital
that the experiences of sexualisation must be considered alongside that of men. Despite historical
writings being predominantly male, Blundell recognises that these sources profound in historical
research are mostly male and bias (Blundell, 1995). An eclectic use of legal documents, art and
literature are adopted by the author to expose the economic position and sexualisation of women in
Ancient Greece. The readers are exposed to the oppressive and sexualised portrayal of women as a
result of the production of male power. Powell says ‘although male gods regularly pursued mortal
women, it was altogether shameful for a goddess to consort with a mortal man’ (Meehan, 2017, p.
15), this shows the power and greater freedom of men and the constraints given to women.
Furthermore, the literature provides a detailed account of the role and portrayal of women in myths
and early literature. The introduction of goddesses are visually described as beautiful and ‘sexually
active but hostile, and the virginal but helpful’, this imagery is also given to the warrior women, the
Amazons (Cohen, 1992). The goddess Aphrodite is a visual representation that provides an insight
into atheistic practice and erotic culture (Arscott and Scott, 2001). The writer explains the body of
the goddess as ‘seductive in its contours, colour, texture or surface, irresistibly inciting feelings of
pleasurable excitation’ (Arscott and Scott, 2001, p. 233). This description suggests the female body is
presented as desiring, social subjects. Therefore, it is apparent that the portrayal of women in Greek
mythology perpetrates their treatment in society. This was typically associated with the downfall of
men which corresponds with the oppressive treatment that women received and mirrored Greek
patriarchal society (Arscott and Scott, 2001). As a result of these lessons it was important to keep
elite women in the domestic sphere and in control. Thus, text and art were ways of educating and
socialising people into their appropriate roles.
In retrospective, the writer also considers how Aphrodite represents intersections of female power
and feminine ambivalence. Therefore creating a juxtaposition of how art and visual imagery is
perceived and the ways sexuality, gender and social roles participate in the receptions and
production of art. Another interpretation is that of Rubins who views the depiction of the female
body in Renaissance artwork as sexually powerful with descriptions of ‘virtuous and praiseworthy’
(Muller, 1992, p. 229). In agreement, Woodall says the images of Aphrodite represent ‘an erotic
under weaving of the heavenly realm of the spirit with the early, material body’ (Muller, 1992, p.
247), connotations of virginity and purity are derived from this interpretation. The writing explores
topics of interest from a feminist point of view and the relationship between gender and art.
, One of the most popular mythical motifs in classical Athenian representation is the battle between
Athenians and the Amazons. The Amazons are represented as unruly female warriors, who deviate
from the expected role of women in Ancient Greek times (Man, 2017). They are seen as barbaric and
closer to the natural state and therefore more prone to sexual excess (Man, 2017). Thus, they must
be closely controlled and the myth shows them being defeated by Athenian heroes, showing the
male domination over them as they deviate from their passive female role (Man, 2017).
Many scenes portrayed in Greek art depict instances of graphic sexual behaviour. These images were
sometimes portrayed on interior floors and walls of provocative sexual encounters such as nude
men engaging in homosexual relations and scenes of older males with young boys (Dover, 1978).
However, these sexual relations prove difficult to interpret due to the fragmented and largely
anecdotal nature of the evidence. Therefore, it must be considered that the available information
may be unrepresentative, as it could represent the sexual experiences of the privileged and
aristocratic elite or it may be symptomatic of mainstream society.
Despite this, it was certainly the norm for men to be in both homosexual and heterosexual
relationships in Ancient Greece (Dover, 1978). However, these sexual attractions of men is very
different to what ‘bisexual’ men should experience today. In Ancient Greece it was not uncommon
for same sex relationships amongst men to involve an adolescence boy and an older man (Dover,
1978). In modern society this would be deemed inappropriate and legally unacceptable. The lack of
sexual exploitation and victimisation reflects cultural changes in societal attitudes and values.
Pederastic homosexual relations were also encouraged by the social elite, who would employ
younger males for sexual favours (Dover, 1978). Since young males lacked monetary resources and
may not be able to afford prostitutes or court respectable females, their outlet for sexual
experimentation were limited to relations with other males (Dover, 1978).
At the extreme end of the spectrum stood the elite fighting forces, such as the Spartan cadet corps
at the phiditia or the Theban Sacred Band of 600 elite warriors (Winkler, 1990). Among these groups
homosexual relations were openly encouraged as a means to reinforce the intense levels of
emotional bonding that were believed necessary to sustain military order on the battlefield (Winkler,
1990). A seemingly ascetic quality was assigned to this lifestyle by wider society, given that it was
admired and emulated by military elites throughout the Greek world (winkler, 1990). This in turn
places emphasis on the centrality of the military experience, what is referred to here as the ‘hoplite
mystique’, in Greek sexual experiences (Winkler, 1990).
In Ancient Greece female prostitutions were regularly used, whereby, cheap sex could be brought by
many brothels, streetwalkers and female ‘entertainers’ (Halperin, 1990b). In terms of prostitution
the main focus is arguably the sexual act and desires of men. Similarly, Greek males often exploited
female servants and slaves in their households which was a much cheaper alternative to exert their
power for sexual gratification (Halperin, 1990b). Thus, women are seen as a safety valve where men
can release their sexual tensions and frustration of everyday life (Halperin, 1990b). This was another
reason why brothels were so common and sex was so cheap so that even the more poorest of men
could afford to do this, for example soldiers. In comparison to contemporary society, prostitution
still exists. Although, connotations of men now going to brothels will arguably be labelled as being
‘dirty’ or ‘secretive’.
A shift to family life in Ancient Greece, the oikos refers to the Ancient Greek household, which
represented the economic and social unit of Greek society (Patterson, 1998). The man of the oikos
had absolute authority and dominance over its members and ownership would be passed down to
his sons (Patterson, 1998). Daughters would leave the parental oikos at marriage and their duty
