The cryptic figure of the cinaedus recurs in both the literature and daily life of the Roman world. His afterlife – the equally cryptic catamite – appears to be well and alive as late as Victorian England. But who was the cinaedus? Should we think of a real group of individuals, or is the term but a scare name to keep at bay any form of threating otherness? This book, the first coherent collection of essays on the topic, addresses the matter and fleshes out the complexity of a debate that concerns not only Roman cinaedi but the foundations of our theoretical approach to the study of ancient sexuality.

Scholars have long been divided on the question of whether the Amazons of Greek legend actually existed. Notably, Soviet archaeologists' discoveries of the bodies of women warriors in the 1980s appeared to directly contradict western classicists' denial of the veracity of the Amazon myth, and there have been few concessions between the two schools of thought since. Postcolonial Amazons offers a ground-breaking re-evaluation of the place of martial women in the ancient world, bridging the gap between myth and historical reality and expanding our conception of the Amazon archetype. By shifting the center of debate to the periphery of the region known to the Greeks, the startling conclusion emerges that the ancient Athenian conception of women as weak and fearful was not at all typical of the region of that time, even within Greece. Surrounding the Athenians were numerous peoples who held that women could be courageous, able, clever, and daring, suggesting that although Greek stories of Amazons may be exaggerations, they were based upon a real historical understanding of women who fought. While re-examining the sources of the Amazon myth, this compelling volume also resituates the Amazons in the broader context from which they have been extracted, illustrating that although they were the quintessential example of female masculinity in ancient Greek thought, they were not the only instance of this phenomenon: masculine women were masqueraded on the Greek stage, described in the Hippocratic corpus, took part in the struggle to control Alexander the Great's empire after his death, and served as bodyguards in ancient India. Against the backdrop of the ongoing debates surrounding gender norms and fluidity, Postcolonial Amazons breaks new ground as an ancient history of female masculinity and demonstrates that these ideas have a much longer and more durable heritage than we may have supposed.

Important primary texts on homosexuality in ancient Greece and Rome are translated into modern, explicit English and collected together in this comprehensive sourcebook. Covering an extensive period, the volume includes writings by Plato, Sappho Aeschines, Catullus and Juvenal.

Ten years after its original publication, Roman Homosexuality remains the definitive statement of this interesting but often misunderstood aspect of Roman culture. Learned yet accessible, the book has reached both students and general readers with an interest in ancient sexuality. This second edition features a new foreword by Martha Nussbaum, a completely rewritten introduction that takes account of new developments in the field, a rewritten and expanded appendix on ancient images of sexuality, and an updated bibliography.

In this fresh, accessible, and beautifully illustrated book, his third to examine an aspect of Roman visual culture, John R. Clarke explores the question, "What made Romans laugh?" Looking at Laughter examines a heterogeneous corpus of visual material, from the crudely obscene to the exquisitely sophisticated and from the playful to the deadly serious—everything from street theater to erudite paintings parodying the emperor. Nine chapters, organized under the rubrics of Visual Humor, Social Humor, and Sexual Humor, analyze a wide range of visual art, including wall painting, sculpture, mosaics, and ceramics. Archaeological sites, as well as a range of ancient texts, inscriptions, and graffiti, provide the background for understanding the how and why of humorous imagery. This entertaining study offers fascinating insights into the mentality of Roman patrons and viewers who enjoyed laughing at the gods, the powers-that-be, and themselves.

This collection of essays seeks to establish Roman constructions of sexuality and gender difference as a distinct area of research, complementing work already done on Greece to give a fuller picture of ancient sexuality. By applying feminist critical tools to forms of public discourse, including literature, history, law, medicine, and political oratory, the essays explore the hierarchy of power reflected so strongly in most Roman sexual relations, where noblemen acted as the penetrators and women, boys, and slaves the penetrated. In many cases, the authors show how these roles could be inverted--in ways that revealed citizens' anxieties during the days of the early Empire, when traditional power structures seemed threatened. In the essays, Jonathan Walters defines the impenetrable male body as the ideational norm; Holt Parker and Catharine Edwards treat literary and legal models of male sexual deviance; Anthony Corbeill unpacks political charges of immoral behavior at banquets, while Marilyn B. Skinner, Ellen Oliensis, and David Fredrick trace linkages between social status and the gender role of the male speaker in Roman lyric and elegy; Amy Richlin interrogates popular medical belief about the female body; Sandra R. Joshel examines the semiotics of empire underlying the historiographic portrayal of the empress Messalina; Judith P. Hallett and Pamela Gordon critique Roman caricatures of the woman-desiring woman; and Alison Keith discovers subversive allusions to the tragedy of Dido in the elegist Sulpicia's self-depiction as a woman in love.

For the Romans, much of life was seen, expressed and experienced as a form of theatre. In their homes, patrons performed the lead, with a supporting cast of residents and visitors. This sumptuously illustrated book, the result of extensive interdisciplinary research, is the first to investigate, describe and show how ancient Roman houses and villas, in their décor, spaces, activities and function, could constitute highly-theatricalised environments, indeed, a sort of 'living theatre'. Their layout, purpose and use reflected and informed a culture in which theatre was both a major medium of entertainment and communication and an art form drawing upon myths exploring the core values and beliefs of society. For elite Romans, their homes, as veritable stage-sets, served as visible and tangible expressions of their owners' prestige, importance and achievements. The Roman home was a carefully crafted realm in which patrons displayed themselves, while 'stage-managing' the behaviour and responses of visitor-spectators.