Bits of information about women are scattered throughout the fragmented mosaic of ancient history. The vivid poetry of Sappho survived antiquity on remnants of damaged papyrus, riddled with gaps. The inscription on a beautiful fourth century B.C.E. grave praises the virtues of Mnesarete, an Athenian woman who died young, but we do not know if the grave's marble stele shows Mnesarete, or simply a ready-made design chosen by her family. We read that on one occasion in the fourth century a great number of Roman wives were given a collective public trial and found guilty of poisoning their husbands, but we can only guess whether these "poisonings" were linked to a high occurrence of accidental food poisoning, or disease, or something more sinister. Apart from the legends of Cleopatra, Dido and Lucretia, and images of graceful maidens dancing on urns, the evidence about the lives of women of the classical world--visual, archaeological, and written----has remained uncollected and uninterpreted. Now, the lavishly illustrated and meticulously researched Women in the Classical World lifts the curtain on the women of ancient Greece and Rome, from slaves and prostitutes, to Athenian housewives, to Rome's imperial family. The first book on classical women to give equal weight to written texts and artistic representations, it brings together a great wealth of materials--poetry, vase painting, legislation, medical treatises, architecture, religious and funerary art, women's ornaments, historical epics, political speeches, even ancient coins--to present women in the historical and cultural context of their time. Written by leading experts in the fields of ancient history and art history, women's studies, and Greek and Roman literature, the book's chronological arrangement allows the changing roles of women to unfold over a thousand year period, beginning in the eighth century B.C.E. The authors seek out literature that preserves women's own voices. Both the art and the literature highlight women's creativity, sexuality and coming of age, marriage and childrearing, religious and public roles, and other themes. Fascinating chapters probe revealing aspects of the classical world: the ubiquitous reports of wild behavior on the part of Spartan and Etruscan women and the mythical Amazons; the changing views of the female body presented in male-authored gynecological treatises; the "new woman" represented by the love poetry of the late Republic and Augustan Age; and the traces of upper and lower-class life in Pompeii, miraculously preserved by the eruption of Mount Vesuvius in 79 C.E. Provocative, surprising, filled with timeless examples of the rich legacy of classical art, Women in the Classical World is a masterly foray into the past, and a definitive statement on the lives of women in ancient Greece and Rome.

Women in the Classical World: Image and Text

History

POMEROY, Sarah B.

Fantham, Elaine

Foley, Helene Peet

Kampen, Natalie Boymel

Shapiro, H. A.

World

Oxford University Press

Information about women is scattered throughout the fragmented mosaic of ancient history: the vivid poetry of Sappho survived antiquity on remnants of damaged papyrus; the inscription on a beautiful fourth century B.C.E. grave praises the virtues of Mnesarete, an Athenian woman who died young; a great number of Roman wives were found guilty of poisoning their husbands, but was it accidental food poisoning, or disease, or something more sinister. Apart from the legends of Cleopatra, Dido and Lucretia, and images of graceful maidens dancing on urns, the evidence about the lives of women of the classical world--visual, archaeological, and written--has remained uncollected and uninterpreted. Now, the lavishly illustrated and meticulously researched Women in the Classical World lifts the curtain on the women of ancient Greece and Rome, exploring the lives of slaves and prostitutes, Athenian housewives, and Rome's imperial family. The first book on classical women to give equal weight to written texts and artistic representations, it brings together a great wealth of materials--poetry, vase painting, legislation, medical treatises, architecture, religious and funerary art, women's ornaments, historical epics, political speeches, even ancient coins--to present women in the historical and cultural context of their time. Written by leading experts in the fields of ancient history and art history, women's studies, and Greek and Roman literature, the book's chronological arrangement allows the changing roles of women to unfold over a thousand-year period, beginning in the eighth century B.C.E. Both the art and the literature highlight women's creativity, sexuality and coming of age, marriage and childrearing, religious and public roles, and other themes. Fascinating chapters report on the wild behavior of Spartan and Etruscan women and the mythical Amazons; the changing views of the female body presented in male-authored gynecological treatises; the "new woman" represented by the love poetry of the late Republic and Augustan Age; and the traces of upper- and lower-class life in Pompeii, miraculously preserved by the eruption of Mount Vesuvius in 79 C.E. Provocative and surprising, Women in the Classical World is a masterly foray into the past, and a definitive statement on the lives of women in ancient Greece and Rome.

Ancient Civilizations

What Is a Man? enriches our understanding of the paradigm shift produced by feminist theory, that gender is constructed, not ìnatural,î and is political. Indeed, Kampenís essay explores new ground, for as she points out, ìfew scholars until very recently have written about the way that gender as a category illuminates our understanding of manhood, and fewer still are the archaeologists and art historians who have studied masculinity in late antiquity.î Kampen draws on pioneering studies of sexuality in classical art, including her own work, to direct attention to the many social and artistic masculinities in play in the late Roman world. What Is a Man? gathers together a diverse group of objects, including portrait sculpture, sarcophagus fragments, pottery, ivory carving, textiles, and coins. All the objects are illustrated in color.

What Is a Man?: Changing Images of Masculinity in Late Antique Art

Arts & Photography

Douglas F. Cooley Memorial Art Gallery

Marlowe, Elizabeth Mae

Molholt, Rebecca Marie

History & Criticism

Douglas F Cooley Memorial Art

In Family Fictions in Roman Art, Natalie Kampen reveals the profoundly de-naturalized ways in which family could be represented in the interests of political power during the Roman Empire. Her study examines a group of splendid objects made over the course of six hundred years, from carved gems to triumphal arches to ivory plaques, and asks how and why artists and their elite patrons chose to depict family to speak of everything from gender to the nature of rulership, from social rank to relationship itself. In the process, artists found new and often strikingly odd ways to give form to families from conquered lands and provinces as well as from the Italian countryside and the court. The book's contribution is in its combination of close attention to the creativity of Roman art and interest in the visual language of social and political relationships in a great Empire.

Family Fictions in Roman Art: Essays on the Representation of Powerful People

Cambridge University Press

See the best price to sell, buy, or rent books by Kampen, Natalie Boymel. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Kampen, Natalie Boymel