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2020, “Lemnos e Drépane: a voz política das mulheres em Apolónio de Rodes”, in F. Rebelo, M. M. Miranda (coords.), O mundo clássico e a universalidade dos seus valores: da Antiguidade ao nosso tempo. Vol.1. Coimbra: Imprensa da Universidade, 135-148.
In the Argonautica of Apollonius of Rhodes, women have a great importance. In this study we analyse the political behaviour of two female characters, Hypsipyle and Arete. Lemnos is a kingdom governed by a woman and populated only by the female gender since all men were slaughtered by their women. The Argonauts, who go there on their outward journey, not knowing what really happened to the previous men, solve the women’s offspring problem by copulating with them. On the homeward journey they stop in Drepane (Corfu), ruled by Arete and Alcinous. In this paper we argue that it is possible to see Arsinoe II’s social and political prominence reflected in the role of the two queens of the Argonautica: Hypsipyle being the image of Arsinoe as Lysimachus' widow and Arete the image of Arsinoe as wife of Ptolemy II. There is an evolution from Arsinoe, still queen of Thrace, who tries to ensure her political power with a matrimonial alliance with Ptolemy Ceraunus, like Hypsipyle feels she must do; to Arsinoe II, already queen of Egypt, who steadily rules next to her brother, like Arete next to Alcinous. The behaviour of characters such as Hypsipyle and Arete, able to weave political strategies by themselves or next to a man, is the recognition of the women’s role in Hellenistic society. Men and women interact – and without this interaction they would not achieve their wishes. The Argonauts’ mission for the Golden Fleece is a clear example of this, since it would have been unsuccessful without the help and action of Medea.
2020 •
Although students and scholars alike know well that ancient Greece was immensely misogynist and patriarchal, nevertheless, there have been numerous attempts to retrieve voices from the classical world at least empathetic to the plight of women. Frequently these attempts turned out to be abject failures. However, many continue to peruse the Greek literary tradition, and archaeological remains for non-misogynist voices. Euripides, at least within reasonably recent history, is for many just such a voice. Medea is one of the first feminist characters in Western literature, which involves the recognition of a significant cultural shift. Euripides'<i> Medea</i> indeed questions contemporary beliefs and standards in ancient Greek society, substantially those of the heroic masculine ethic. Still, it did so at the expense of women, not in their support. Through this paper, I would like to show the depiction of the women situation in ancient Greek and how Medea, as a female pr...
The Social Sciences
The Position of Women in Greek and African Culture: A Study of Aristophanes' Lysistrata and Rotimi's our Husband has Gone Mad Again2012 •
Political Theory
Another Antigone: The Emergence of the Female Political Actor in Euripides' Phoenician Women2005 •
Melilah: Manchester Journal of Jewish Studies (1759-1953)
Women in Antiquity: From Marginalization to ProminenceIn a sense, women were subject to higher levels of social pressure than men in fifth-century Athens B.C. Driven by the deeply ingrained expectations associated with behavior and domesticity, women simply had minimal, if not any, control over their decisions and more significantly, their physical movements. It is only within the realm of tragedy in which gender boundaries are partially diminished and questioned. Nicole Loraux suggests that within tragedy, a woman who commits suicide is liberated because she achieves a certain power over her body, one that was formerly possessed by the men in her life (Loraux 8). However, this notion becomes paradoxical when the woman's motivations to end her life are intricately examined. As illustrated in both Euripides' Hippolytus and Sophocles' Antigone, the characters that commit suicide (e.g. Phaedra, Antigone and Eurydice) all do so only for the sake of preserving their feminine reputations and obligations. For after all, " Every woman who is mortal must compromise the totality of the female state with its tensions, ambiguities, and conflicts (Vernant 143) ". In this way, the status of femininity is not heightened by the tragic woman's choice of killing her body since her incentive for doing so is only to sustain the cultural feminine stereotypes. It is rather the public outcome and mourning produced by her suicide that achieve this imbalance of gender hierarchies in tragedy, as funerals for women were highly privatized and minor compared to the public processions given for men in ancient Greek society (Loraux 3). In addition, the visual possibilities of the theater help to expose a tragic woman's incentives of suicide through these staging elements: the location of the suicide (thalamos), the manner in which the woman commits suicide, and her concealment from the outside world. Essentially, the literal spatial positioning of the woman in combination with the dramatic action effectively symbolizes the psychological stress a woman incurs from adhering to the conventional characterizations of femininity. Nevertheless, because the product of a woman's suicide fundamentally fuels the rest of the plot, femininity attains higher levels of value and public appeal than it would in ordinary life. Thus gender limitations and stereotypes become fluid within the theater. First, it is crucial to understand the rigid principles that women of fifth-century Athens were expected to embody in order to better contextualize the societal pressures and motivations of the suicides in Antigone and Hippolytus. A prime source of these values lies in Xenophon's Oeconomicus in which the upper class Athenian, Ischomachus, " describes the lessons he imparted to his wife for running his home (Oost 226) ". According to Xenophon, one of the most important tasks for a man to accomplish is properly educating their woman, " in such a way as to have them as coworkers in increasing the households (Xenophon 3.10) ". If they are unsuccessful at this 'education', the wife most likely will ruin their estate and wealth (Xenophon 3.10). All in all, the groundwork of creating this submissive woman lies in the following generalizations: the wife conserves and secures the possessions that her husband brings into the household (Xenophon 3.15), she spins wool and makes clothes (Xenophon 7.6) and she makes bread from the crop (Xenophon 7.21). In addition, her fundamental duties are to nourish and successfully bring up their offspring and eventually to send them out to work when they reach a mature age (Xenophon 7.33). Most tasks that Xenophon sets up for a wife to uphold are reminiscent of common stereotypes women experience in throughout any generation of history. Consequently, these societal traditions alone do not promote the immense pressure in the minds of Athenian women, but when combined with the spatial polarity men and women were expected to maintain, women had no other choice but to feel literally imprisoned in their freedom to behave more literally, their positioning in physical spaces. Women are to remain inside their domestic sphere and men are to venture outside in the open air (Xenophon 7.20). More profound and influential on women is the divine explanation for their physical captivity: Since, then, work and diligence are needed both for the indoor and for the outdoor things, it seems to me that the god directly prepared the woman's nature for indoor works and indoor concerns. For he equipped the man, in body and soul, with a greater capacity to endure cold and heat, journeys and expeditions, and so has ordered him to the outdoor works; but in bringing forth, for the woman, a body that is less capable in these respects, the god has, it seems to me ordered her for the indoor works. (Xenophon 7.22-24) Clearly, there does exist biological differences in men and women and because of this they are not equal in that sense however, the attribution to a divine source for this physiological difference, implicitly convinces women that they are meant to oblige to these conditions and in turn it successfully keeps women shut off from the rest of society. This shame women are burdened with is lucratively reinforced by the allusion to Hesiod's Theogony in describing women as bees. On one hand, Hesiod stereotypes women as wasteful creatures that are lazy, stay inside, and contribute nothing of worth to the community:
2019 •
Phillip II and his son Alexander the Great created the Macedonian empire that stretched from the Danube to the Indus. After Alexander's death, his generals dismantled the empire and established their own rule over certain territories. Their names and deeds are preserved in the sources together with a few mentions of their wives, mothers, sisters, or daughters. In the background of it all, women played important roles that are frequently overlooked by the sources due to their gender. They were mostly used by men to ensure alliances, but some were ambitious enough to strive for leadership. This article will portray the lives of these notable women who used their influence to gain power, or were used by others to secure their own position. Most influential are Olympias, Kleopatra, Antipater's daughters, Kynane, Adaia-Eurydike, Thessalonike, Barsine, Roxane, Apama, Amastris, Stratonice, Berenike, Arsinoe II, and the hetairai. The article will determine the importance of these women and the role they played in the world of ambitious men.
This essay provides a reassessment of the increasingly popular view that the young wives of Aristophanes’ Lysistrata are represented as hetaeras. It begins by examining a parallel debate in contemporary Attic red-figure vase paintings of women at home to show that displays of female sexuality are not incompatible with marriageable maidens and wives. Aristophanes similarly situates his female characters within a domestic context as the site of sexual and social legitimacy. A detailed analysis of clothing, footwear and grooming practices deployed in the sex strike demonstrates that they represent the standard accoutrements of housewives rather than of hetaeras. Their domesticated eroticism, while enabling the male spectators a voyeuristic glimpse of other men’s wives, reinforces their procreative function as mothers and producers of future Athenian citizens. The importance of sexual desire within marriage for the production of legitimate offspring is dramatically reinforced by the onstage presence of the boy child in the thwarted sexual encounter of Myrrhine and Cinesias. Aristophanes’ Lysistrata fits with a pattern of heightened interest in women and domestic ideology at the end of the fifth century BCE. The popularity of these domestic images may reflect a growing concern for the threat posed by prolonged warfare to the stability and continuity of both household and polis.
2021 •
Kerstin Droß-Krüpe / Sebastian Fink: Preface and Acknowledgements Powerful Women in the Ancient World in the Light of the Sources Annette Zgoll: Innana conquers Ur: A Hitherto Unknown Myth Created by En-ḫedu-ana for Mutual Empowerment Gina Konstantopoulos: The Many Lives of Enheduana: Identity, Authorship, and the “World’s First Poet” Nicole Brisch: Šamḫat: Deconstructing Temple Prostitution One Woman at a Time David A. Warburton: Hatshepsut: The Feminine Horus and Daughter of Amun on the Throne of Atum Lloyd Llewellyn-Jones: Bathsheba and Beyond: Harem Politics in the Ancient Near East Martti Nissinen: The Agency of Female Prophets in the Bible: Independent or Instrumental? Prophetic or Political? Stéphanie Anthonioz: Women at the Heart of the Tribal System in the Book of Genesis Paola Corò: Between a Queen and an Ordinary Woman: On Laodice and the Representation of Women in Cuneiform Sources in the Hellenistic Period Claudia Horst: Antigone: Political Power and Resonance Florian Krüpe: Mighty, but quiet? Elpinice between Conflicting Priorities in Interpretations and Sources Sabine Müller: On a Dynastic Mission: Olympias and Kleopatra, Agents of their House Timothy Howe: (Re)Taking Halikarnassos: Ada, Alexander the Great and Karian Queenship Josefine Kuckertz: Amanishakheto: A Meroitic Ruling Queen of the Late 1st Cent. BC / Early 1st Cent. AD Kordula Schnegg: Cornelia: A Powerful Woman Francesca Rohr Vio: Domum servavit, lanam fecit: Livia and the Rewriting of the Female Model in the Augustan Age Christiane Kunst: Iulia maior on the Move: exemplum licentiae and euergetis Helmuth Schneider: Der Tod Messalinas. Folge sexueller Libertinage oder Machtkalkül? Brigitte Truschnegg: Feminine, influential and different? The Presentation of Julia Domna Udo Hartmann: Zenobia of Palmyra: A Female Roman Ruler in Times of Crisis Ireneusz Milewski: “Earthly yoke”? The Estate of Valeria Melania Ewan Short / Eve MacDonald: Shirin in Context: Female Agency and the Wives of the Sasanian King Khosrow Parviz Powerful Women in the Ancient World in Modern Thought François de Callataÿ: Cleopatra as a Strong Woman in Modern Times: A less Negative Episode in a Disfigured Tradition? Martin Lindner: Rome Herself: Female Characters in Günther Birkenfeld’s Augustus Novels (1934–1984) Anja Wieber: Depicting the Palmyrene Queen Zenobia: From Baroque “femmes fortes” to Modern Comic Books
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