http://nova.newcastle.edu.au/vital/access/services/Feed ${session.getAttribute("locale")} 5 http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:8534 Much has been written on the Sapphic gaze, primarily in relation to the representation of the various personae in her poems and fragment. I would like to address this subject as it relates to the poet's depiction of herself, or her artistic construct, with a focus on poem 58 and fragment 31, to illustrate what Eva Stehle defines as "poetry in and through which the gaze opens the self to disintegration, shifting position, identification with the other, or mirroring of the viewer's desiring self" (Stehle 1996:221). In addition to this feature of Sapphic poetic technique, I wish to consider further viable connections between the two pieces-specifically a similarity of theme (eros, germ and death) and one of artistic allusion (the poetry of Mimnermus). The results of this comparative study will hopefully shed some light on poem 58 in relation to an established fragment, fragment 31, as well as extend discussion of the latter piece-not only in terms of the themes of age and aging per se-but also in terms of the possibilities of the influence of Mimnermus, whose voice I suggest is not only audible in fragment 31 but in poem 58 as well. 2011-08-04T02:50:09.624Z ]]> http://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4164 Sappho’s ancient biography is covered in addition to the post-classical accounts of her life, which continue to appear, in a variety of creative and non-creative contexts, in contemporary literature and art. Sappho’s poetry, essentially preserved in tantalising fragments, is discussed in a series of thematic chapters that include her religious writings, particularly directed to the goddess of love, Aphrodite; personal interpretations of mythological themes; marriage hymns; and love songs to female companions. 2010-04-27T05:06:55.643Z ]]>