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Archive Reviews
John R. Clarke
Looking at Lovemaking: Constructions of Sexuality in Roman Art 100 B.C. - A.D. 250,
Berkeley: University of California Press 1998, pp. 406 (cloth bound, with both color and black-and-white illustrations), $ 39.95
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Reviewed by E. J. Haeberle
A
highly respected German newspaper recently published a lengthy
article on pornography by a learned judge who had many years of
experience of dealing with this issue. In it, he summed up the
conventional wisdom of his profession by stating: "The
depictions of sexual activities ... can be found in Europe from
antiquity to the present. However, they have become a social problem
only since the second half of the seventeenth century...when,
through the printing press and (,later,) the invention of photography
they could be widely distributed and easily produced.... Sexual
themes in single copies may be a moral or esthetic problem, but
they are not a problem of society as a whole." (1)
The new book by the American art historian John R. Clarke raises
some doubts about this conventional wisdom. By a detailed exploration
of erotic depictions in early imperial Rome, Clarke succeeds in
showing not only how ubiquitous they were in all sorts of public
places, but also that, though mass production, they reached the
farthest outposts of the empire. Even in antiquity then, erotic
paintings and sculptures were not always rare single objects and
a privilege of the rich, but, in the form of cheap merchandise,
widely accessible to the lower and lowest classes. As Clarke's
study makes clear, it is misleading to rely on ancient literary
sources for an understanding of every-day Roman eroticism. Indeed,
the enormously varied pictorial and sculptoral record often contradicts
the official morality pretended in "high-brow" Roman
literature. The standards proclaimed here applied mainly to the
upper classes who imposed certain restrictions on themselves in
order to claim greater "virtue" which, in turn, would
justify their domination of others. In contrast, the visual arts
knew little of such considerations, but reflected, in their totality,
an ever-present, all-comprehensive hedonism, a lust for life,
an uninhibited joy in the pleasures of the flesh.
Aided by excellent illustrations, we can easily follow Clarke's
subtle argument as he guides us
through ancient Roman public buildings and private homes, showing
us wall paintings, sculptures, lamps, vases, flasks, bowls, goblets,
and many other articles of every-day use that depict all conceivable
forms of sexual activity between couples and in groups - men with
women, men with men, women with women, men and boys. The character
of these depictions ranges from "high art" to caricature,
from the opulent and precious to the mundane. They were by no
means hidden away by their owners as "collector's items",
but proudly displayed as signs of wealth or as "conversation
pieces" to enliven a meal or enhance good fellowship and
conviviality. The hitherto often propagated idea that Roman erotica
were mostly restricted to certain baths and "houses of ill
repute" is simply wrong. Moreover, by analyzing floor plans,
Clarke shows that explicit erotic scenes in Roman villas not only
adorned bedrooms and private dining rooms, but also entrance halls,
courtyards and corridors accessible to casual visitors and even
strangers. In short, erotic depictions were simply part of Roman
life, they were visible practically everywhere, they reflected
a sexual attitude that was both realistic and accepting, and,
even where they were mass-produced, they were definitely not "a
social problem".
This is not the place to discuss the enormous historical shift
in Western culture from the ancient guilt-free acceptance of
pictorial erotica to their medieval and modern condemnation. The
very fact that we now speak of 'pornography' in this context reflects
our 'lost innocence' in this regard. Indeed, all the latest presumed
'sexual revolutions' notwithstanding, today the topic is still
laden with so much controversy and general anxiety that it must
be considered innovative and daring for a reputable university
press to publish a scholarly study such as Clarke's. Certainly,
this would not have been possible even twenty years ago.
However, it is not only the content of the book, but also its
methodology and its style that set it apart from previous works
of the genre. The text stands in the best tradition of
Anglo-American academic writing. Although exhaustively researched
and footnoted, is easily accessible to undergraduate and graduate
students. It is serious, but almost conversational in tone; fluently
written, but never simplistic. In the past, histories of erotic
art shunned such accessibility in order the avoid the accusation
that they corrupted the minds of the young. Clarke's new liberty
in dealing with his subject is a reflection of certain increases
in academic freedom that, in recent years, have been won after
all (although, as we know, there have also been some significant
setbacks in the name of 'political correctness'). Most of all,
the new study has profited from various methodological advances
in the field of sexology. Sexological scripting theory and its
correlating paradigm of 'social constructionism' have provided
new ways of bridging the comprehension gap between us and our
distant ancestors who live in the past as if "in another
country". The new 'gender studies' have alerted scholars
from many different fields to the psycho-social dimensions of
what used to be considered eternal, unalterable biological givens.
This, in turn, has enabled students of Western antiquity to free
themselves of modern, false intellectual dichotomies such as the
supposedly irreconcilable opposites "hetero- and homosexuality".
Indeed, in the meantime, a critical history of sexual orientation
research has revealed the cultural relativism of many previously
undisputed "truths".
Clarke, up to date on the latest sexological insights, is able
to take full advantage of them for his pioneering study. He shows
us a "new" ancient Rome, a truly "lost world"
that, in its sexual attitudes, is totally different from our own
modern age. He succeeds in letting us see many falsely familiar
ancient depictions "with new eyes" and thus he lets
us get a little closer to really understanding them. At the same
time, he gives his students a better chance than ever before to
talk about erotic depictions in a detached, scholarly manner sine
ira et studio.
Reference:
1. Ulrich Vultejus, "Sex, Liebe und Videos: Die Pornographie,
ihr neuer Markt und dessen Grenzen" in: Frankfurter Allgemeine
Zeitung, March 28, 1998, p. 11
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