https://www.peren-revues.fr/eugesta/561 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/735 This essay provides a reassessment of the view that the young wives of Aristophanes’ Lysistrata are modeled on hetaeras. It begins by examining a parallel debate in contemporary Attic red-figure vase paintings of women at home to show that displays of female sexuality are not incompatible with marriageable maidens and free citizen wives. Aristophanes similarly situates his female characters within a domestic context as the site of sexual and social legitimacy. A detailed analysis of clothing, footwear and grooming practices deployed in the sex strike demonstrates that they represent the standard accoutrements of housewives rather than of hetaeras. Their domesticated eroticism, while enabling the male spectators a voyeuristic glimpse of other men’s wives, reinforces their procreative function as mothers and producers of future Athenian citizens. The importance of sexual desire within marriage for the production of legitimate offspring is dramatically reinforced by the onstage presence of the boy child in the thwarted sexual encounter of Myrrhine and Cinesias. Aristophanes’ Lysistrata fits with a pattern of heightened interest in women and domestic ideology at the end of the fifth century BCE. The centrality of marriage in the play may represent a response to the erosion of Pericles' citizenship law in response to the depletion of Athenian men in the waning years of the Peloponnesian war. mar., 14 juin 2022 09:11:54 +0200 mer., 18 oct. 2023 11:45:15 +0200 https://www.peren-revues.fr/eugesta/735 https://www.peren-revues.fr/eugesta/550 This article provides a gender perspective on the Roman imago, the male ancestor mask, by arguing that imagines were deeply entangled in elite women’s lives in the Republic and Empire. When an elite woman was a filia, they were a vivid and didactic presence in the atrium of her natal home. When she was a nupta and uxor, copies of her patrilineal and matrilineal imagines were transferred from her natal home to her marital home. When she was a matrona and mater, her marital home could accrue more imagines when her male relatives attained the aedileship (or the higher curule magistracies) and she herself could use them didactically with her children. If an elite woman’s marriage was dissolved by death or divorce, any surviving children might inherit copies of her bridal imagines. When an elite woman died, a pompa imaginum could be part of her funus. Finally, a female maior and her patrilineal and matrilineal imagines could constitute and signify elite identities. I argue that these imagines and accompanying tituli could function as an inheritance and dos for an elite woman, and as a deposit of symbolic capital, embodying her social position and status. The imagines were an important mechanism for transferring elite female social position and status between families, and an elite woman’s own commendatio maiorum. mar., 14 juin 2022 08:57:10 +0200 lun., 16 oct. 2023 15:45:13 +0200 https://www.peren-revues.fr/eugesta/550