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Sappho, whose work survived under the form of fragments, had your floruit at the beginning of sixth century B.C.. Although it did not have, in Classical Antiquity, a concept which corresponded to the one of “sexuality”; though existed protocols discursive to tell the pederasty, there was no definition for the female homoeroticism. Thus, Sappho is harvested in one plot of “excesses”, made clear in epithets it received in Antiquity: mascula, tribad, courtesan. In the nineteenth-century, the biography of Sappho is reintroduced into the culture forintermediary of the translation of Ovid. It is from this period that the article returns, proposing the reading  of pictorial images of Sappho under the background of eroticism, suggesting that this iconography is associated the cliches and a conception of female produced by (and for) the male gaze. The conquest of the memory of Sappho in images produced intentionally for male pleasure enjoys, at the same time, of one field of discursive possibilitiesdonated by tradition.

SAFO, CONTEÚDO ADULTO: homoerotismo feminino/voyeurismo masculino