Perhaps at first glance, Kelly Olson’s work Dress and the Roman Women Self, might give the impression of a superfluous book regarding a frivolous topic. Within moments, it becomes self-evident that this is far from the actuality, and instead is a book filled with numerous insights on Roman Society. Olson argues, not only that dress is important to the women of Rome, but also that it can support a greater understanding into the everyday life and culture of the Empire as a whole. In the same way that a male Roman could outwardly reflect his status and power, Olson argues that so could women. This work establishes arguments of not only what women wore, but why it was meaningful, both to the specifics of Rome and to the field of Roman history. …show more content…
Stating how “in may preindustrial societies, clothing was the material creator of social position and an important tool of social regulation” (1). Rather than a look at clothing from a viewpoint of the trivial, Olson sets out to show that it can instead be an indicator of what was fundamentally central to a given society. While filled with various depictions ranging from hairstyles textile coloring, the writing’s emphasis is kept on the deeper significance of these adornments. Much of Olson’s arguments surmise that these outward choices regarding physical appearance had both a purpose for the individual, and also that of greater Roman society. This is further evidenced with increasing discussion throughout the book concerning how Roman women could use adornment to reflect their status and power within a highly patriarchal …show more content…
Within Olson’s text, this is evident by her attempt to make suggestions rather than definitive conclusions about specific items of dress and adornment. This is seen when Olson works to create commonality between the differing moral writings of contemporary Romans with that of the feminine idols of literary works. She gives examples of these two very distinct assessments of women, stating how “the majority of classical authors who reproached women for adornment were moralists such as the elder Seneca, and the majority of those who praised female ornamentation were erotic poets, such as Ovid” (10). Rather than discarding these sources, due to recognizable bias, instead they are analysed together to create an array of relevant information. Olson is clear that most of her source material focuses on the reactions and opinions of Roman men, but she is able to incorporate these to evidence of possible normalities for Roman
Eloisa wants a dress to go to church in Chiloe because she “‘just need[s] someone to notice [her], that’s all’” (Jara 221). Her mother barely gives her any attention, and it is certainly not positive; therefore, Eloisa craves attention from the men in the city. She lusts after attention, thinking that “‘somebody, will have to notice [her], if only because of the dress’” (217). Instead of having confidence in herself, she places the solution in wearing a feminine article of clothing to attract a man. The significance of this is exemplified when “[she] was standing there, embracing the blouse as if it were a man” (221). This helps develop the idea that since she now has nice looking clothing, she can get a man to marry her.
Salisbury, Joyce E. and Gregory Adrete. "Clothing in Greece: Ancient World." Daily Life through History. ABC-CLIO, 2013. Web. 9 Oct. 2013.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Lefkowitz, Mary R., and Maureen B. Fant. Women's Life in Greece and Rome. Baltimore: The John Hopkins University Press, 2005.
Tunics were are two rectangles tied together by the top. Making clothing required labor in which slaves did, was very expensive. Women developed different styles of fashion like the “stola”, and different hairdos. There were different categories of slaves, the ones who did clothing labor and hair in which lived pleasant lives unlike the regular slave that worked on farms or for citizens. Many slaves sacrificed their hair to make wigs. Citizens often complained because “…slaves often went out on their own and citizens complained that they were unable to tell a difference”. Many women tried to fit because when a new emperors’ wife developed a new hairdo republican women citizens started to copy her and create their own styles, especially when Augustus wrote “The Art of Love – in which it taught men and women how to be attractive to be each other”.
...ce. Her head is covered by a veil, adorned with flowers, with knotted strands hang down either side of her neck. As for her body, it differs from those of the mythological women in its fullness; it better resembles that of a mother. A large tunic fully covers her skin. The maturity and fruitfulness of the depicted Livia conveys a greater sense of importance and respect for the empress. However, as Glenys Davies critiques in “Portrait Statues as Models for Gender Roles in Roman Society,” the messages conveyed by these art mediums are subtle and seductive: “they suggest that a woman who conforms will be rewarded—not only by fine clothes and access to hairstylists but also by commemoration in a marble portrait. But by various means they also make clear that conforming means not behaving like a man, not aspiring to male roles, and knowing what a woman’s place is.”
Lucretia and Dido are both viewed as ideal Roman women. The story of Lucretia is found in Livy’s Early History of Rome, while Dido is written about in The Aeneid by Virgil. By looking at Roman values, the story of Lucretia, the story of Dido, their similarities and differences, a background of Livy and Virgil, as well as the similarities and differences of Virgil and Livy’s views toward them, Dido and Lucretia can be seen as exemplary Roman women.
...s this shows her feminity as a women it also portrays her as being a temptress because of the exposure of her breast. Unlike the woman being almost completely covered but being shown in a tempting way in relation to her feminity, the man on the other side is completely exposed in order to demonstrate the youthfulness and strength of his body. Which the Romans used in artworks as a form of political advertising to show that a man that had a masculine body, young and strong, could be a leader. The man’s exposure of skin is considered as positive form of dispaying his masculinity while the woman’s lack of exposure except for her breast can be viewed as tempting through her feminity and disapproved. This shows the gender indiffernece of feminity and masculinity, where masculinity is portrayed in positive forms while femininity has only negative aspects to be protryed in.
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
Freeman S. (2004). In Style: Femininity and Fashion since the Victorian Era. Journal of Women's History; 16(4): 191–206
Women in pictorial history have often been used as objects; figures that passively exist for visual consumption or as catalyst for male protagonists. Anne Hollander in her book Fabric of Vision takes the idea of women as objects to a new level in her chapter “Women as Dress”. Hollander presents the reader with an argument that beginning in the mid 19th century artists created women that ceased to exist outside of their elegantly dressed state. These women, Hollander argues, have no body, only dress. This concept, while persuasive, is lacking footing which I will attempt to provide in the following essay. In order to do this, the work of James Tissot (b. 1836 d. 1902) will further cement the idea of “women as dress” while the work of Berthe
Peacock, John. The Chronicle of Western Fashion: From Ancient times to the Present Day. New York: Harry N. Abrams, 1991. Print.
The purpose of this essay is to intricately elaborate on the culture of the Romans, along with its similarities and discrepancies, or uniqueness, in relation to Ancient Greek culture. This is achieved by providing background to both Roman and Greek culture, analyzing how Rome technically purloined Greek culture, describing how unique Roman culture is, and explaining its long lasting impact on today's society.
Tertullian. “Chapter1. Modesty in Apparel Becoming to Women, in Memory of the Introduction of Sin into the World Through a Woman.” On the Apparel of Women. Trans. S. Thelwall. Ed. Alexander Roberts, James Donaldson, and A. Cleveland Coxe. Vol. 4. Buffalo,NY: Christian Literature, 1885. Print.
The prejudice the women tolerate is evidenced by their tendency to dress in men’s clothing in order to be heard or considered (Olson). As women, their voices are inhibited or disregarded; they are overshadowed and overlooked by society. Portia, for example, has little choice but to consent to being the prize in her “loving” late father’s lottery. All decisions are made in regard to her future and life is influenced by men. The fact that the father is deceased does not diminish his power. In fact, his status a...