|Chapter 1: Bibliographic Notes (see full Bibliography)
On archaic Greek lyric and homosexuality generally, see Buffière (1980) 239-77, Cantarella (1992) 12-16, and especially Percy (1996) 95-184, although the last is sometimes prone to press the evidence too far.
On homosexual themes in Archilochus, see Burnett (1983) 74-75.
For the interpretation of Alcman's Maidens' Song as a same-sex betrothal, see Gentili (1988) 73-77, drawing on the important work of Calame (1997), especially 207-63, concerning the poem's initiatory character; Calame, however, sees the homosexual element as a bond between the chorus-leader and younger girls of the chorus. See, in addition, the detailed commentary on the poem in Calame (1983), and the remarks of Lasserre (1974) 5-10, 30-33. Parker (1993) 325-31 insists that the erotic language of this poem pertains only to relationships among the age-equal chorus members themselves. Others have seen the context of the poem as entirely heterosexual, either as a wedding hymn for Hagesichora (Griffiths ) or as an advertisement of the girls' attractiveness to a male audience (Clark , Stehle  30-39, 73-88). On the relation of the myth to the rest of the poem, see Robbins (1994) and Too (1997).
For the theory that Sappho was engaged in a voluntary female initiation process, see Hallett (1979), Burnett (1983) 209-28, Gentili (1988) 77-89, and Calame (1997) 249-52. For Sappho's circle as educational, see Merkelbach (1957). For a critical history of these and other constructions of Sappho's social context, see Parker (1993); however, his own view of a society of age-equal relationships amid female symposia is no less speculative and is attacked by Lardinois (1994). For a good general introduction to Sappho's work, see Williamson (1995); for a more personal view from a Marxist/feminist perspective, see du Bois (1995). See also Burnett (1983) 229-313 and Snyder (1997) for readings of the major poems. For a collection of several important articles, all previously published, see Greene (1996a). In addition to these, see Svenbro (1984) on 1.5, 1.7, and 1.9, Wills (1967) and Race (1989) on 1.7, Privitera (1969), Devereux (1970), McEvilley (1978), and Latacz (1985) on 1.9, Carey (1978) and Hague (1984) on 1.17. On Sappho's later reputation and literary influence, see De Jean (1989), Greene (1996b), and Prins (1999).
On erotic themes in Anacreon, see Goldhill (1987) and Gentili (1988) 89-104. On transvestism and possible satire against effeminates, see Slater (1978), Brown (1983), and Price (1990), but it is unclear whether the fragment in question (fr. 388 PMG) has anything to do with homosexuality.
On Theognis' pederastic poems, see Lewis (1985) and Edmunds (1987). Vetta (1980) provides extensive commentary on all the poems of "Book II." Hunter (1993b) and Mace (1996) discuss Simonides, fr. 22 W2.
For Pindar's use of erotic motifs to celebrate boy victors in his epinician odes, see von der Mühll (1964), Lasserre (1974) 17-20, Crotty (1982) 92-103, Instone (1990), Steiner (1998) 136-42, and Hubbard (forthcoming). Nicholson (2000) shows how these motifs are extended to adult patrons as well. On 1.85 and 1.86, see Hubbard (2002). On innovative and traditional elements in the Pelops myth of 1.87, see Kakridis (1930), Köhnken (1974), and Howie (1983). On its application to the praise of Hieron, see Cairns (1977) and Burgess (1993). For its initiatory structure and significance, see Sergent (1986) 57-78 and Hubbard (1987). Gerber (1982) provides a detailed commentary.
On the Harmodius song, see Ehrenberg (1956), Podlecki (1966), Fehr (1984), and Monoson (2000).