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the folks living in Etruria and other areas of early Italy. The use of male nudity and female exposure among the Gauls shows the survival of ancient customsand taboos in historicaltimes. The heavy and often painful emotions of delight, pain, shock, or shame that the sight of the nakedbody arouseswere used by artistsin many methods. Nakedness was, and still is, always something specific. It can signify divinity, or reveal human helplessness. Most impressive is the magic of the erect male genitals, which accounts for the survival of the apotropaic Picture of the phallus into Classical times, on the herm and the satyr and in Old Comedy. I have tried to illustrate some aspects of the portrayal of nakedness,partial and whole,for men and for women, in Greece, and in the barbarian world; to interpret some of the early reports, and to "read"some of the pictures, in the Greek artistic language, in addition to in some quite queer barbariandialects. There are clearly issues of translation, often involving our own understandingof the nude the painterZeuxis,was describedby Lucian.Zeuxis:see Robertson413, 488. Barbarianprisonerson Roman trophiesarefrequentlyaccompanied bytheirwives,whoare nursingbabies. 148 Suprans. 3, 9-12, 91. S. Freud,A GeneralIntroduction to Psychoanalysis(first English publ. 1920; rev., repr. New York 1964) 160: "The number of things which are repre- sentedsymbolically in dreamsis notgreat. The humanbody as a whole, parents,children,brothersand sisters,birth, Passing, nakedness.... " See also P. Slater, The Gloryof Hera (Boston1971). 149 Suprans.9-10, 38. AmongrecentstudiesseeL. di Stasi, 569 figure in artwork. We tend to think of it as largely erotic. Eros definitely moves behind the sight of the naked human body, but its sensual significanceis not the only one in artwork. The truth is, when it's only eroticits meaning is http://ganemoscordoba.org/wiki/index.php?title=NLS-Podcast-Beauty-Pageants-History-of-Swimsuits-in-Australia-amp-Naked-and-Afraid-Interview-w . The Aphroditeof Euripides'Hippolytus, with all her awesomepower, was fully dressed. In Greece the remarkable initiation of fit male nudity, which really originated in a rite, spiritual context, developeda special social and civic meaning. It becamea costume,a uniform:exercisingtogetherin the gymnasia marked guys's status as citizens of the polis and as Greeks. On the vases, this is how young men were shown. Female figuresshown nakedin public, on the other hand, were typically entertainers. Girls represented as exposed were broken, stripped of their clothing, and in dreadfuldanger,as vulnerableand unprotected before a male attacker as Athenian law thought them to be in life. Clothing distinguishes guys from Creatures. This distinction is still valid in Classical Greek art for girls (thoughnot for men). Polyxena, and Iphigeneia, nude by the altar, are about to be sacrificedlike animals. The viewpoint of nakedness among barbarians differs, Frequently contrasting sharply with that of mainland Greece in the Classical period, and allows us to see more clearly, perhaps,just how unique the Greekconcept and customwere. Hebrews and Romans made a Assortment of adjustmentsto include-in a small waythe classical ideal of Greek male nudity and of the gymnasia within their artwork and in their life. The Gauls' custom of fightingnakedwas remarkedon as "foreign"by the Greeks. In Etruria, and in Italy, female nudity and the image of the breastfeeding mother still indicate the power of the mothergoddess,as they did in the Mediterraneanbefore Greek art prevailed. In Classical antiquity, consequently, the contrast between the clothed and the naked human body was used to express some of the most fundamental contrastsof the human experience:God and man, human and animal, Guy and girl, public world and privatelife Mal Occhio:The Undersideof Vision(San Francisco1981), with review by A. Burgess, TLS, 4 September 1981, 999; Cultural studies practitioners have long debated the signication of clothing and the ways in which they signify sensuality, sexuality, status, in addition to the ethos and codes of creation of clothes, consumption, the operations of thoughts of Fitting in the subscription to fashion fads -- all in all, the manners in which clothing symbolizes. Analyses of clothing and fashion have frequently treated the 'Nude' body like it really is prior to rendering besides in its depiction in art, pornography, advertisements and other media. The arguments in art history and public World parlance over the differences between naked and nude are moot points when seen through a post-structuralist lens. Kenneth Clark (1956) suggests that artistic representation -- high art -- has the skill to render the naked as nude, as if 'nude' is another kind or design of clothes, leaving behind 'naked' as the actually disrobed. Treating the nude body this way ignores how it's consistently already represented and constrained by codes of behaviour, circumstances, differentiation from the clothed body, loose signications and cultural rites. Although nakedness is most often performed during, with or alongside practices of sexuality, http://openqbo.org/wiki/doku.php?id=sources-deal-with-fundamental-features-of-their-cultures:46089 appears