Livia\u27s Power in Ancient Rome

When one thinks of the ancient Roman heroes, Caesar and Augustus come to mind. We picture Roman men on the front lines in culture and society, while the women are kept back and oppressed. And while women definitely faced obstacles in ancient Rome, it didn\u27t stop them from making an impact. This paper argues that Livia, wife of Roman emperor Augustus, was able to secretly manipulate politics in Rome as a mother and a wife, as seen in honorific statues, Ovid\u27s poetry, and honorific titles

WOMEN AND POLITICS IN MICHELLE MORAN’S CLEOPATRA’S DAUGHTER

Abstrak Skripsi ini fokus terhadap peran wanita dalam politik di Mesir dan Romawi kuno yang di tampilkan oleh tiga karakter dalam novel. Setiap karakter memiliki persamaan dan perbedaan peran dalam berpolitik. Persamaan antara Selene dan Kleopatra VII ialah sukses mencapai peran strategis dalam politik sebagai pemimpin di kerajaan mereka masing-masing. Meskipun demikian, perbedaan masyarakat dimana mereka hidup mempengaruhi kesuksesan mereka dalam mencapai tahta. Sebaliknya, peran Julia adalah gambaran sebagai wanita pada umumnya yang hidup pada era tersebut. Oleh karena itu, dalam studi ini analisis didasarkan pada dua rumusan masalah: (1) Bagaimana Cleopatra menjalani dua fungsinya sekaligus sebagai seorang pemimpin di negerinya dan sebagai seorang istri untuk keluarganya ? (2) apa saja perbedaan antara Cleopatra VII dan Cleopatra Selene dalam  berpolitik terkait dengan perbedaan kehidupan masyarakatnya? Analisis dilakukan dengan menggunakan teori Liberal Feminism yang menganalisi peran wanita dalam politik dan hak- hak dasar lainnya. Selain itu, pendekatan Feminism juga digunakan untuk mendukung dan menganalisis kondisi wanita di dalam masyarakat. Hasil dari studi ini menunjukkan bahwa wanita mampu untuk menjadi adil menjalankan kedua fungsinya sekaligus. Ini dibuktikan oleh Kleopatra yang mampu memimpin negerinya menuju kejayaan, dan disaat yang sama dia mampu  mengatur kelurganya dengan baik. Pada analysis ini juga membuktikan bahwa Kleopatra lebih leluasa dalam berpolitik daripada putrinya, Selene. Hal ini terjadi karena masyarakat dimana Kleopatra hidup, masyarakat Mesir adalah masyarakat yang menghormati wanita dan memperlakukan mereka sejajar. Sebaliknya, lingkungan dimana Selene hidup adalah masyarakat Roma yang memperlakukan wanita sebagai individu yang lebih rendah dan sama sekali tidak dihormati sehingga wanita tidak memiliki kesempatan untuk berpolitik. Kata kunci: Liberal Feminism, peran wanita dalam politik, Mesir dan Roma kuno Abstract   Key words:  Liberal Feminism, Women’s role in politics, ancient Egypt and Rome.   This thesis is focused on the women’s role in politics in ancient Egypt and Rome that are performed by three characters in the novel. Each character has similarity and different experiences roles in politics. The similarity between Selene and Cleopatra VII is succeeds to reach the important role in politics as the ruler in each kingdom. Nevertheless, different societies where both live influence their success in reaching the throne. In contrary, Julia portrays the common roles of women in that era. Based on these conditions, the analysis of this thesis is grounded on these two main questions: (1) how does Cleopatra cover her function both as the leader in her country and as a housewife for her family? And (2) what are the differences between Cleopatra VII and Cleopatra Selene in their political roles within different society? The analysis is done using Liberal Feminism theory which analyzes the women’s role in politics and other fundamental rights. Besides, the feminism approach supports to analyze the women condition in society. The result of the analysis shows that women are able to be equal in both lives. It is proved by Cleopatra who is able to lead the country into the victory, and at the same time she is able to manage the family well. The analysis also reveals whether Cleopatra has more freedom to play her role in politics rather than her daughter Selene. This happens because the society where Cleopatra lives, Egypt is a society that tends to put respect more on women and treat them equally. On the contrary, the society where Selene lives is Rome society, that treats women as an inferior and respectless so women have limit access in politics

Brothers are better than sisters: A semiotic, feminist analysis of HBO\u27s Rome

In 2005, the Home Box Office and British Broadcasting Corporation partnered to produce Rome , a television series that retells the Roman histories of Julius Caesar, Marc Antony and Augustus through the lives of two centurion soldiers, Titus Pullo and Lucious Vorenus. The show\u27s producers endeavored to bring Roman streets to life and included more storylines of women, men and children of all classes. At first considered a more egalitarian approach to history, Rome \u27s women are said to challenge expectations (Vu, 2005) and forge a new path (Ragalie, 2007, p. 2). But does this new representation challenge the old , sexist thinking that governed ancient Rome (and that continues to limit gender roles in modern society)? Or does it reify it? This semiotic, feminist analysis of the HBO television series, Rome , asks how the show reifies and critiques patriarchal ideals. It compares the way brotherhood and sisterhood are framed through narrative and visual elements, like characterization, dialogue, plot, camera angle and color. The asexual, same-sex relationships between Pullo and Vorenus and Atia and Servilia are selected as signifiers of brotherhood and sisterhood. The difference in the portrayal of brotherhood and sisterhood illustrates ways that patriarchal ideals are articulated, and feminist ideals are oppressed, in popular culture representations. This thesis argues that even though Rome \u27s producers claim to set the stage for modern politics--infighting, corruption, the way that they set the stage, ironically, critiques contemporary ideas about gender and endorses the base upon which the corruption is built--patriarchy. By critiquing Rome , this thesis contributes to feminist media studies scholarship by showing how patriarchy is portrayed in media and how those messages contribute to our perception of sexist politics

Qua Re qui possum non esse popularis: The representation of Populares in the Late Roman Republic.

The terms popularis and optimate have been employed in both ancient and modern literature to interpret late Roman Republican politics. The purpose of this work is to express the diversity and change of the popularis label from 133 to 88 B.C. as a consequence of developing political practices. A chronological assessment of five key popularis tribunes in this period; Ti. Sempronius Gracchus, G. Sempronius Gracchus, L. Appuleius Saturninus, M. Livius Drusus and P. Sulpicius Rufus determines the variation in political methodologies exploited by these men in response to an optimate opposition. An assessment of Cicero’s works then considers how the discrepancies exhibited by these politicians could be manipulated for oratorical advantage. This subsequently reveals the perception of pre-Sullan populares in the time of Cicero, a generation later. This work ultimately aims to demonstrate the individualistic nature of late Republican politicians, the evolution of political practice in the period and the diverse employment of political labels in contemporary sources

Samfundet som teater - Fra Caesar til Silvio

Med eksempler fra bl.a. det antikke Rom, det gamle Grækenland og nutidens valg af populistiske stjerner til politiske poster behandler artiklen tendensen til teatralisering af politikken. Society as theatre from Caesar to Silvio During the present period we are witnesses to yet another chapter in the tendency towards the theatricalisation of politics. People wish to be represented not by a stick-in-the-mud with political acumen and devoid of charisma but by actors. Where the USA has its actors and sports personalities entering politics, Italy has the opposite – politicians who provide the populace with theatre instead of an exchange of political opinions. If we cannot simply regard the development in Italy as a harmless special case, it is because the country, and not least Rome itself, has throughout its history provided a norm and a form for the association between aesthetics and politics. This article traces the Italian tendency towards the marriage of aesthetics and politics from ancient Rome, to Catholicism, to fascism and on to the modern Berlusconi regime

Samfundet som teater - Fra Caesar til Silvio

Med eksempler fra bl.a. det antikke Rom, det gamle Grækenland og nutidens valg af populistiske stjerner til politiske poster behandler artiklen tendensen til teatralisering af politikken. Society as theatre from Caesar to Silvio During the present period we are witnesses to yet another chapter in the tendency towards the theatricalisation of politics. People wish to be represented not by a stick-in-the-mud with political acumen and devoid of charisma but by actors. Where the USA has its actors and sports personalities entering politics, Italy has the opposite – politicians who provide the populace with theatre instead of an exchange of political opinions. If we cannot simply regard the development in Italy as a harmless special case, it is because the country, and not least Rome itself, has throughout its history provided a norm and a form for the association between aesthetics and politics. This article traces the Italian tendency towards the marriage of aesthetics and politics from ancient Rome, to Catholicism, to fascism and on to the modern Berlusconi regime

Publics and Audiences in Ancient Greece

An overview of the historical constitution of theater audiences in Classical Athens and the implications of this assessment. I first sketch out the dominant ways in which modern scholars have defined ancient audiences. I argue that attention to (male) citizenship or Greek identity has effaced the presence and role of other groups in the audience. In the second section I discuss the evidence for audiences in ancient Athens. Available space for spectators and the various barriers to these spaces shaped the diverse constitution of audiences; from the Classical to early Hellenistic period (ca. 480–300 BC), theaters did not merely expand and proliferate but redefined the make-up of audiences. The third section explores the discourse of audiences in ancient sources. As I briefly elaborate in the conclusion, this chapter aims to unsettle and provincialize the idea of citizen audiences

Soldiers of the Roman Empire. The Traditions of Military Service and the Martial Mentality

Книга посвящена исследованию социально-политических и военно-этических традиций римской императорской армии (I в. до н. э. — III в. н. э.). Эти традиции трактуются как противоречивое единство древних полисно-республиканских установлений и реалий профессионального войска, представлявшего собой своеобразное корпоративное сообщество, особый социальный организм и субъект политической истории. В центре внимания автора — специфика римского воинского этоса, основанного на особых стереотипах поведения и ценностях. На основе широкого круга литературных и документальных источников рассматривается морально-психологическое, аксиологическое и практическое значение традиций воинского товарищества и дисциплины, анализируются представления, связанные с социально-политическими и моральными качествами воинов, воинскими доблестями, честью и славой, знаками отличия и военной карьерой, раскрывается взаимосвязь римского воинского этоса и армейской религии. Исследуются также механизмы и формы участия армии в политических процессах, взаимоотношения императора и войска. The book studies, mostly for the first time in Russian historiography, the social-political and military-ethical traditions of the Roman Imperial army (1st century B.C. – 3rd century A.D.). These traditions are considered as a contradictory unity of the ancient polis-democratic rules and the realities of the professional army presenting a corporative community as a specific organism and subject of political history. The author concentrates on the specifics of Roman martial ethos grounded with the specific stereotypes of behaviour and values. On the basis of a big number of literary and document sources the following matters are made clear: moral-psychological, axiological and practical significance of military friendship and discipline; notions connected to social-political and moral qualities of warriors, martial virtues, honour and glory, signs of distinction and military career; interconnection between Roman martial ethos and the army religion. Under examination are as well the mechanism and forms of the army participation in political life and the interrelations between the emperor and his forces.Список сокращений: с. 384-390. Литература: с. 391-422. Словарь латинских и греческих терминов: с. 423-431. Summary in English: p. 432-437