The Ass, The Witch, And The Roman Empire

However, Valerius, like Cato, associates women with matters that are less substantial and not entirely connected to the empire as a whole. “No offices, no priesthoods, no triumphs, no decorations, no gifts, no spoils of war can come to them; elegance of appearance, adornment, apparel-these are the woman’s badges of honor.” The apparent connection between women and appearance shows that women in Roman society were something to be looked at or shown off. Women were the prizes of men and the better they looked or the more they had been directly linked to his status in society.

Misogyny pervades the picture Aeschylus, Aristophanes, and Sophocles paint of Athenian society. In their literature, however, female characters catalyze plot by challenging this picture. Such characters--from Sophocles’ Antigone to Aristophanes’ Lysistrata--face grim consequences for acting independently. Clytemnestra and Cassandra from Aeschylus’s Agamemnon exemplify this archetype of autonomy and destruction. When they confront injustice, male characters perceive them as vindictive and hysterical. This paper will compare the standards of justice Aeschylus’s society imposes on men and women. I will argue that Clytemnestra and Cassandra are protectors of divine justice who reject subservience and thereby transcend the sexism of their society.

During the Renaissance period, sexuality impacted how people, both men and women, were treated and how they behaved. The lives of women were completely defined by the ideals of sexuality that were enforced during that time. Every area of a woman’s life from birth was influenced by outside influences rather than by they themselves. It took a particular type of woman to break past the clearly defined description of what a “Renaissance woman” should be.

She was expected to give physically financially and emotionally to her family at all times. Roman aristocratic families expected women to have male children so they cold carry on the family name and also expected the wives to be perpetually pregnant. The women from the lower classes did not have to have as many children due to the financial situation of raising a large family. They were expected to work outside the home to help support them. If a roman man decided to expose of a female baby he was allowed to do so and the woman had no choice but to allow it. The reason for this was that girls could not carry on the family name and a dowry was expected of them when they married. (4)

Women in Ancient Rome enjoyed a slightly better life than those in Ancient Greece. Roman men "placed a very high value on marriage, home and the family and this made quite a difference to society's treatment of women" (Thompson, 2005). Women still were passed from their father's supervision to their husbands, but enjoyed a more important role. While women could not hold

To begin, Apuleius wrote a novel, The Golden Ass, which demonstrates Roman worldviews of the self. In the book, he explains a perspective about what makes the self: experience and transformations. Lucius, the protagonist, goes through many different changes that really shaped his character by the end of the novel. He underwent multipart transformations that are physical, personality wise, his social class, his beliefs, and his interests. At the beginning of The Golden Ass, Lucius’ internal and external selves do not correlate. Only through his experiences and numerous transformations is he truly able to be himself because both his internal and external selves match. This worldview is especially present in ancient Rome because of all the wars this great city took part in that physically transformed Rome’s territory and its citizens. These experiences made Roman men physically strong, wise, powerful and meant that they were good at warfare since they were able to conquer so many different places like Carthage, Italy, and Greece. The men that took part in these wars came back as different people after they had experienced war and all its casualties. There are many implications of

Volumnia’s character in Coriolanus both supports and breaks the normal gender roles and basis of what is feminine and what is masculine. Since Coriolanus’s father is not around, Volumnia plays both parts of a mother and a father in the family. Volumnia raises her son to be masculine and to exude power despite that she is a woman. She sends him to war and does not think about the consequences or hardships he must face. Unlike a regular mother, she loves seeing Coriolanus’s wounds because they represent strength and show his manly struggles. How Volumnia raises Coriolanus is reflective of herself because she thinks that men who do not fight in the war should not be respected by their country, and furthermore, that one is not a “man” but only a boy before going to war. Like his mother, Coriolanus sees the plebeians as cowards because they have done nothing and have not fought in the war. Because of this, Coriolanus believes he is better than them and that they should respect him and not the other way around. Coriolanus’s masculinity makes him all the more powerful-- his violent and aggressive behavior gives him more power than those men who have not fought in war. Evidently, masculinity is a foundation for power and Volumnia has raised her son to adhere to masculine qualities in order for him to be more powerful. By being a man and fighting for Rome, he is to be made council, giving him power to rule over others. Furthermore, Volumnia acts more as a general to a soldier than is

Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that

The Greek and Roman societies were a very patriarchal society. This is reflected throughout the myths in classical mythology. By looking at the many pieces of literature involving Greeks and Romans we will see that the roles women portrayed are very different from women’s roles in today’s society. Although there are a few similarities to women’s roles in today’s society, their roles are more like those women in the past. We can see this by looking at the qualities of Greek and Roman female gods and looking at the roles women play in the myths.

Where this evidence survives it usually portrays any women who had any role in public affairs as not behaving in a manner that was befitting of a proper Roman women. For example, Fulvia is presented as “a counter-example of correct Roman women’s behavior” by literary sources for reportedly imposing her will upon the senate, and getting herself involved in

Madeline Miller’s The Song of Achilles re-tells the classic tale of The Iliad through the romantic relationship highly speculated between Achilles and Patroclus. In a diachronic approach to historical queer narratives, I will analyze queer identities and representation within literature with an emphasis on contemporary queer narratives. Queer narratives are especially important stories to perpetuate and recognize both historically and contemporarily, as they impose, perpetuate, or upset notions of normalcy. The Song of Achilles solidifies historical queer identities and experiences that have otherwise been absent, overlooked, or erased in the Iliad (and other historical texts). Accurate queer representation is important for understanding the historical past, giving voice, visibility, and validation to queer identities, and recreating identity in the present.

The main argument is about the problem posed for the modern viewer by the eroticized body of the political ruler, which wasn't a problem for the ancient - Mesopotamians; that sexuality was inextricably linked to potency to male vigor and manly vigor to dominance and authority. In other words, Irene Winter's thesis is about sexuality signifying rule in ancient times.

It wasn’t until the Greek and Roman empires that gender roles in society really started to widen the gap between males and females. The combination of a growing belief of women as servants and the impact of mythology on culture culminated in a “gender specific code of conduct” (Evans). In Greek mythology (coincidentally written by men), the Hesiod’s Theogony (The Birth of the Gods) played a tremendous role in the status of man and woman (Mason). In Theogony (The Birth of the Gods), Prometheus lives in a world of only men where life was great. There was no work and all leisure. Prometheus makes the Gods

One of the oldest beverages known to man is wine, an alcoholic drink made from fermented grapes. Wine has been enjoyed all around the world and Ancient Rome is no exception. Ancient Rome played an important role in its history. Wine carried religious, philosophical, and social implications for the Romans as it was a part of their daily life. The popularity of wine and drunkenness in Ancient Rome is clearly portrayed throughout poetry, art, literature and even laws. Although wine was eventually available to all, it’s implications for women were severe. An important connection between Ancient Rome and wine that is rarely discussed is the idea of denying women a right to drink. Today, it is not uncommon or distasteful for women to have a glass of wine but in Roman society, women’s overindulgence of wine was frowned upon. This paper will discuss women in Ancient Roman society and analyze sources from Valerius Maximus and Propertius to focus on how the role of wine reinforced the patriarchal system and oppression of women.

The title of Sarah B. Pomeroy's book on women in antiquity is a summary of the main categories of females in the literary imagination and the societies of ancient Greece and Rome, over a period of fifteen hundred years. Beginning with goddesses, Pomery retells some Greek myths, outlining the social functions of female Olympians – the goddesses are archetypical images of human females, as envisioned by males. Desirable characteristics among a number of females rather than their concentration in one being are appropriate to a patriarchal society. Demosthenes states in the fourth century B.C. this ideal among mortal men, "We have mistresses for our enjoyment, concubines to serve our person and wives for the bearing of legitimate children (Pomery 1995)." Pomery’s goal in writing this book was to detail and outline the true significance of women in all other their roles in antiquity.