| Reading Sappho |
| ACKNOWLEDGMENTS |
| SERIES EDITOR'S FOREWORD |
| INTRODUCTION |
 | PART I LANGUAGE AND LITERARY CONTEXT |
| • | One Sappho's Amatory Language |
| • | Two Critical Stereotypes and the Poetry of Sappho |
| • | Three Phaethon, Sappho's Phaon, and the White Rock of Leukas: "Reading" the Symbols of Greek Lyric |
 | Four Eros and Incantation: Sappho and Oral Poetry |
| PART II HOMER AND THE ORAL TRADITION |
| • | Five Sappho and Helen |
| • | Six Gardens of Nymphs: Public and Private in Sappho's Lyrics |
| PART III RITUAL AND SOCIAL CONTEXT |
| Seven Sappho's Group: An Initiation into Womanhood |
| • | Eight Sappho and Her Social Context: Sense and Sensuality |
| • | Nine Romantic Sensuality, Poetic Sense: A Response to Hallett on Sappho |
| Ten Who Sang Sappho's Songs? |
| • | 1. The Ancient Evidence About Sappho's Work |
| • | 2. Sappho and the Distrinctions between Choral and Monodic Poetry |
| • | 3. "I" and "We" in Sappho and Other Early Greek Poetry |
| • | 4. Some Major Fragments: Fragments 1, 2, 5, 16, 17, 31, 58, and 95 |
| • | 5. Sappho's Public Poetry |
| PART IV WOMEN'S EROTICS |
| • | Eleven Woman and Language in Archaic Greece, or, Why is Sappho a Woman? |
| Twelve Sappho's Gaze: Fantasies of a Goddess and Young Man |
| • | Thirteen The Justice of Aphrodite in Sappho |
| Fourteen Apostrophe and Women's Erotics in the Poetry of Sappho |
| Fifteen Sappho and the Other Woman |
| BIBLIOGRAPHY |
| CONTRIBUTORS |
| INDEX |