https://www.peren-revues.fr/eugesta/481 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1440 In 20 CE, Aemilia Lepida was tried before the senatorial court. When the court recessed for a holiday, she rallied support by referring to her Pompeian ancestry, choosing as her venue the theatre built by her great-grandfather Pompey himself. Accompanied by a group of fellow elite women (clarae feminae), Lepida entered the theatre and invoked the imagines of her great ancestor with tearful lamentations. Based on a close reading of Tacitus’ Annales 3.22, this article focuses on his descriptions of the strategies Lepida adopted and discusses how she used her connection to Pompey to support her case and argue that the physical setting of Lepida’s appeal to the people contributed to its meaning and that she in essences was asking for a trial by the public opinion. It will demonstrate how women could use their agency in negotiating public space, with a sensitivity to social conventions of the Roman imperial elite. jeu., 04 janv. 2024 11:18:42 +0100 mer., 17 janv. 2024 10:05:41 +0100 https://www.peren-revues.fr/eugesta/1440 https://www.peren-revues.fr/eugesta/881 This paper offers a reassessment of the character of Livia in Ovid’s poetry, in particular with regard to her repeated appearances over the course of the exile epistles. Whereas a majority of previous scholars have identified Ovid’s Livia as being excessively prominent and treated with an unwarranted level of panegyric, this paper uses other primary sources of information from the period to demonstrate that Ovid’s Livia is grounded in the discourse of the period and Ovid’s Livia is an appropriate reflection of her evolving status in the late Augustan and early Tiberian periods. mar., 14 juin 2022 11:49:57 +0200 ven., 08 déc. 2023 11:51:09 +0100 https://www.peren-revues.fr/eugesta/881 https://www.peren-revues.fr/eugesta/479 This paper examines Suetonius’ representation of Tiberius and sex on Capri at Vita Tiberii 43-44. Many of the features of Suetonius’ narrative move through normative elements of Roman sex culture: brothels and prostitutes, sex manuals, erotic paintings in domestic spaces, pederasty and elite garden spaces. But each element is reconstituted as something dehumanizing and dangerous in Suetonius’ telling. Tiberius constructs a radical sexuality, in which the closer an individual orbits the emperor, the more Roman notions of sex become deconstructed, atomized and reassembled in ways that expose a destructive and dangerous pathology. Nearly every structuring category that might delineate and demarcate Roman sexuality is distorted, obscured and blurred. Bodies are controlled and transformed. New functions and constructions of human embodiment are conceived. States of being become iterative replications of images imprinted in paint or on stone. Children become “bracelet workers”, little fishes or hybrid, hooved deities or woodland goddesses. Normative stages and transitions of human development are obliterated and replaced by an assemblage of activity that orbits the sexual organs of the emperor. Tiberius transforms traditional Roman sex culture and assembles an admixture of extreme and complex performances of a particularly disruptive and corrosive sexuality that confounds categories and frameworks. mar., 14 juin 2022 08:51:51 +0200 ven., 10 mars 2023 14:47:32 +0100 https://www.peren-revues.fr/eugesta/479