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    <title>Gender</title>
    <link>https://www.peren-revues.fr/eugesta/1508</link>
    <description>Entrées d’index</description>
    <language>fr</language>
    <ttl>0</ttl>
    <item>
      <title>Ovid’s Amores 2.8: A Genuine Offence</title>
      <link>https://www.peren-revues.fr/eugesta/1536</link>
      <description>In this article, I provide a close examination of Ovid’s Amores 2.8 that focuses on how the poet-lover’s use of persuasory rhetoric enables him to bully and silence the subaltern Cypassis. My discussion challenges Patricia Watson’s claim (in “Ovid Amores 2.7 and 8: The Disingenuous Defence”) that this poem has comparably less forensic qualities and rhetorical elements than its counterpart (2.7). I argue that forensic and rhetorical elements permeate the text and become increasingly blatant as the poem proceeds. By employing declamatory and oratorical techniques, the poet-lover weaponises his rhetorical education, a privilege afforded to him by his status as an elite Roman male, in order to intimidate, manipulate, and ultimately blackmail Cypassis, the uneducated, defenceless, and mute subaltern. I suggest that it is a mischaracterisation to refer to this approach as a ‘seduction’; it is a calculated exertion of power that enacts gendered violence.  </description>
      <pubDate>lun., 27 mai 2024 11:58:46 +0200</pubDate>
      <lastBuildDate>jeu., 19 déc. 2024 18:14:00 +0100</lastBuildDate>
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      <title>Female Portrait Statuary in Roman-period Athens: the epigraphic and sculptural evidence</title>
      <link>https://www.peren-revues.fr/eugesta/1506</link>
      <description>Female portrait statuary forms a large and important category of evidence for understanding the historical phenomenon of the visual representation and commemoration of women in the public spaces of the Greek city. With its rich body of both epigraphical and sculptural remains, the city of Athens is a particularly fruitful site to undertake such a study. While portraits of women begin to be set up in Athens in the early fourth century B.C., the chronological focus here is the Roman Imperial period, when inscribed bases for statues of women and marble sculpture representing female portrait subjects are the most abundant. I consider epigraphical evidence in the form of inscribed statue bases. The main sculptural evidence comes from the American excavations in the Athenian Agora. While a great deal of important research has focused on the epigraphic evidence, particularly from the Acropolis, this article analyzes and puts into conversation both strands of this extensive corpus of material.  </description>
      <pubDate>jeu., 04 janv. 2024 11:38:45 +0100</pubDate>
      <lastBuildDate>jeu., 18 janv. 2024 10:07:51 +0100</lastBuildDate>
      <guid isPermaLink="true">https://www.peren-revues.fr/eugesta/1506</guid>
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