https://www.peren-revues.fr/eugesta/757 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/755 This article examines the appearance of the term κίναιδος in Greek documentary sources from Egypt and asks what these sources can contribute to our understanding of a figure who is so often presented in Greek and Latin literary texts as a sexual or gender deviant. The first half of this paper presents and contextualizes one ostrakon and six papyri which use the term κίναιδος and argues that this word is employed predominantly as an occupational term to denote some kind of performer. On one occasion, however, it is used as a pejorative term although the particular negative sense of this use is ambiguous. The second half of this paper compares these documents to mentions of the kinaidos/cinaedus in literary and documentary evidence from outside Egypt which most often, but not always, connect this figure with sexual deviancy and only occasionally with his role as a performer. A comparison is also made with documentary sources from within Hellenistic and Roman Egypt which mention effeminacy, homoerotic activity, and anal penetration. This analysis suggests that similar concerns over the correct observance of homoerotic protocols are evident in Greek, Roman, and Hellenistic and Roman Egyptian contexts; but whereas the kinaidos/cinaedus serves as a locus for such concerns elsewhere, he does not appear to be connected with any such anxieties in the Egyptian context. mar., 14 juin 2022 09:13:02 +0200 mer., 13 déc. 2023 09:50:33 +0100 https://www.peren-revues.fr/eugesta/755 https://www.peren-revues.fr/eugesta/1047 This is a comparison of Agathon’s role, in Aristophanes’ Thesmophoriazusae and Plato’s Symposium. Firstly, I examine the platonic version, and the unique, idiosyncratic part Plato gives Agathon to play, as a host to all, and a hostage to Socrates. Secondly, I discuss his interaction with Inlaw, the ordinary Athenian, in Aristophanes’ play. Such parallel reading allows us not only to refine our outlook on the dramatic construction both of the “talking party” and of the comic performance, but also to capture how really poikilos, for better or worse, that urban love could be. Finally, I analyze the significance of this juxtaposition, as an intertext. Plato, I argue, produces a proper palinode of Agathon, as an erotikos and a mimetic poet. By taking seriously the face-to-face between Agathon and Agathon, two dissonant, and yet compatible, variations on one man, our picture of Athenian erotic culture emerges sharper, and in greater detail. jeu., 16 juin 2022 08:31:02 +0200 ven., 13 oct. 2023 10:38:15 +0200 https://www.peren-revues.fr/eugesta/1047