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This book explores how Roman imperial power was constructed and contested through the representation of sexual relations.
The ancient Greeks and Romans were not shy about sex. Phallic imagery, sex scenes, and the lively activities of their promiscuous gods adorned many objects, buildings, and sculptures. Drinking cups, oil-lamps, and walls were decorated with scenes of seduction; statues of erect penises served as boundary-stones and signposts; and marble satyrs and nymphs grappled in gardens. Caroline Vout examines the abundance of sexual imagery in Greek and Roman culture. Were these images intended to be shocking, humorous, or exciting? Are they about sex or love? How are we to know whether our responses to them are akin to those of the ancients? The answers to these questions provide fascinating insights into ancient attitudes toward religion, politics, sex, gender, and the body. They also reveal how the ancients saw themselves and their world, and how subsequent centuries have seen them. Beautifully illustrated throughout, this lively and thought-provoking book not only addresses theories of sexual practice and social history, it is also a visual history of what it meant and still means to stare sex in the face.
In this lively and detailed study, Beth Severy examines the relationship between the emergence of the Roman Empire and the status and role of this family in Roman society. The family is placed within the social and historical context of the transition from republic to empire, from Augustus' rise to sole power into the early reign of his successor Tiberius. Augustus and the Family at the Birth of the Roman Empire is an outstanding example of how, if we examine "private" issues such as those of family and gender, we gain a greater understanding of "public" concerns such as politics, religion and history. Discussing evidence from sculpture to cults and from monuments to military history, the book pursues the changing lines between public and private, family and state that gave shape to the Roman imperial system.
This book explores the cliché of 'the city of seven hills' and how, since antiquity, it has shaped experience of the city.
An entertaining and intriguing account of sex in Rome and the exploits of some of Rome’s celebrated exponents of sexual permissiveness and perversion
This agenda-setting text has been fully revised in its second edition, with coverage extended into the Christian era. It remains the most comprehensive and engaging introduction to the sexual cultures of ancient Greece and Rome. Covers a wide range of subjects, including Greek pederasty and the symposium, ancient prostitution, representations of women in Greece and Rome, and the public regulation of sexual behavior Expanded coverage extends to the advent of Christianity, includes added illustrations, and offers student-friendly pedagogical features Text boxes supply intriguing information about tangential topics Gives a thorough overview of current literature while encouraging further reading and discussion Conveys the complexity of ancient attitudes towards sexuality and gender and the modern debates they have engendered
How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.
This book explores the institution of manumission-the freeing of slaves-in ancient Rome from a gendered perspective. Rome was unique among ancient polities in that it bestowed freed slaves with full citizenship, granting them rights nearly equal to those of freeborn individuals. The sexual identities of a female slave and a female citizen were fundamentally incompatible, as the former was principally defined by her sexual availability and the latter by her sexual integrity. Accordingly, those evaluating the manumission process needed to reconcile a woman's experiences as a slave with the expectations and moral rigor required of the female citizen.
The first in a four-volume set, The Cambridge World History of Violence, Volume 1 provides a comprehensive examination of violence in prehistory and the ancient world. Covering the Palaeolithic through to the end of classical antiquity, the chapters take a global perspective spanning sub-Saharan Africa, the Near East, Europe, India, China, Japan and Central America. Unlike many previous works, this book does not focus only on warfare but examines violence as a broader phenomenon. The historical approach complements, and in some cases critiques, previous research on the anthropology and psychology of violence in the human story. Written by a team of contributors who are experts in each of their respective fields, Volume 1 will be of particular interest to anyone fascinated by archaeology and the ancient world.
An illustrated guide to the erotic images of Pompeii, as depicted in wall paintings, mosaics, ceramic decoration and relief sculpture. Individual chapters focus on the depiction of the phallus, irony and parody, eroticism at banquets, in the public, private and sacred spheres.