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Embodying Sympotic Pleasure A Visual Pun on the Body of an Aule?tris helene a. coccagna In the tondo of a late sixth-century BCE red-?gure cup attributed to Oltos, now unfortunately lost, a naked woman, depicted frontally, straddles an overturned pointed amphora, its toe disappearing into her body (see ?g. 5.1).1 John Beazley describes the image as a “naked ?ute-girl raping a pointed amphora” (ARV2 66), and subsequent scholars have viewed it as a masturbation scene and have offered little further analysis aside from raising the question of whether it re?ects an actual performance or simply a fantasy.2 In this essay, I offer a new interpretation of this vase, as well as other scenes that treat amphorae in a similar, sexual manner. Arguing that potters and painters employed rhetorical strategies analogous to those of sympotic poets such as riddling and punning, I claim that these images enact visual puns that evoke parallels between the amphora and the female body by focusing on the stoma (mouth) and gast?er (belly) of each. In this essay I explore the lexical ?elds of stoma and gast?er and show how the ambiguities common to both anatomical features are explored in vase painting. In so doing, I reveal the lexical and visual games that hinge on the body parts common to women and vases and that invite the viewer to compare the female body and the body of the vase. Vases in Context: Iconography and the Symposium Both the shape and decoration of the cup by Oltos suggest that it was originally created for the symposium context. The vessel is described by Beazley as the 106 5 107 Embodying Sympotic Pleasure fragment of a cup that was likely close in shape to the kylix—a two-handled, shallow cup with a high foot, which is one of the most common types of drinking cups in symposium and k?omos scenes in both black- and red-?gure vase paintings (Richter and Milne 1935, 24–25). In such banqueting scenes, the kylix is one of several different types of cups used by both men and women and even doubles as a game piece in the sympotic game of kottabos (Richter and Milne 1935, 25). It is not just the form of the vessel that locates the woman in the context of the symposium ; her appearance does as well. Her nudity, the wreath on her head, her snake bracelets, and the aulos (?ute) in each of her hands accord with her role as an aul?etris.3 Figure 5.1. Attributed to Oltos. Attic red-?gure cup, late sixth century BCE. Location unknown. Drawing by Tarah Csaszar. A specialized form of banquet or ritualized drinking party, the symposium was the prerogative of adult male citizens. It was characterized by speci?c elements including libation and puri?cation rituals, prayers, communal dining, the regulated consumption of wine, as determined by the symposiarch, performances, including music and dance, and contests among the participants.4 The event usually took place in the andr?on, or men’s room, and was attended by a small group of men who reclined as they drank, dined, sang, and conversed. Hired performers of both sexes provided entertainment and sometimes served as prostitutes (Neer 2002, 9). Because such an array of potted vessels was used in the symposium, I work from the assumption that this specialized banquet served as an important market for a signi?cant portion of Attic pottery produced in the late archaic and early classical periods, the periods to which the vases discussed in this essay date.5 In response to this demand for symposium ware, I believe that potters and painters would have crafted some of their products for this speci?c milieu and can be shown to have explored many of the themes that characterized the event when choosing what to represent in their shapes and images (Neer 2002, 2). Francois Lissarrague has explored how the symposium had an impact on the iconography produced for it (1990a). Emphasizing the role the vases played beyond their functional purpose, he describes these vessels as not just mere containers but as vehicles for images (1990a, 11). He points out that they are “reconsiderations in another medium” that play an important role in establishing and reinforcing the setting of the symposium (1990a, 106). From the poetry performed at the symposium, Richard Neer extracts a set of terms that he uses to interpret the material culture of.
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