Women In Ancient Greece Research Articles

Obraz życia kobiet na podstawie "Lizystraty" oraz "Sejmu kobiet" Arystofanesa

It is common knowledge that in ancient times women did not have many rights that were assigned only to men, such as the right to education, owning their own property or freely choosing a partner. The aim of the article is to present the image of the life of women in ancient Greece, with particular emphasis on the citizens of Athens during the Peloponnesian War and after its end, based on two comedies by Aristophanes: Lysistrata and Assemblywomen. By highlighting some stereotypes regarding women, the comedy writer draws attention to the chaos that prevails in political matters for which men are responsible. Women make a kind of transition from the zone of oikos intended for them to the zone of polis, becoming the main characters of comedy.

Social status of women in Ancient Sparta

The factors that determined the peculiarities of the social status of women in Ancient Sparta have been identified and analysed. It has been demonstrated that the establishment of community control over private life, namely: strict regulation of marriage and family relations, the compulsory nature of specific general education, which started for girls at the age of eight and lasted until marriage, determined that the national interests of women became a priority and dominated family values. It has been found that in Sparta, as in other polities of ancient Greece, childbearing was considered the most important function of women, as the offspring were to continue family traditions and take care of their elderly parents, conduct religious rites, etc. Only male children were seen as future citizens and defenders of the polis. In Lacedaemon, motherhood acquired a more accentuated meaning and was understood as service to the state. It became the basis of marriage and family relations, where polyandry was perceived as the norm. The Spartan woman was socially active. She was a direct participant in religious festivals and rituals, sports competitions. She publicly ridiculed the bachelors and cowards. If her own son turned out to be a coward, she could kill him herself. A mother did not bear any legal responsibility for the murder of a cowardly son. The economic rights of Spartans, which other women in ancient Greece did not have, have been investigated. Due to her husband’s military service, a Lacedaemonian woman managed not only his oikos, but also his cleris. Polyandry allowed a woman to unite two or more “houses” under her control and thus increase her influence in society. It has been noted that a strong economic foundation allowed wealthy women to have more freedom in society and even influence those in power in making responsible political decisions. With the loss of Messenia, women lose their economic freedom. The social status of women also changes, as they become more subordinate to men. It has been argued that in Sparta, the state minimised the private life of spouses. Under such conditions, a woman was socially active, knew the inner life of the polis well, and understood the foreign policy priorities of the state. She acted as a motivator and guide of Spartan ideology for the men of her family. And in this way, the Lacedaemonian woman was significantly different from other women in ancient Greece.

Status of Women in Ancient Greece

Status of Women in Ancient Greece

A Critical Study of Oedipus Rex and the identity of Women in Ancient Greece

Oedipus Rex, is an Athenian tragedy by Sophocles and was performed first around 429 B.C.Role of gender in society is as old as human society itself. In Oedipus Rex” a women named Jocasta is the main character and experiences all the complicated events of the female gender from her child hood throughout her life. She begins life as daughter of Menoeceus of Thebes and becomes the queen of the king (Laius).Moved by number of events like proclaiming and human weakness the play cross the climax. Besides the role of women in Greece is defined. Where the gender biasness is explained by certain events.

Saltos del toro y carreras rituales. Deporte femenino y religión en la Antigua Grecia

La tan repetida afirmación de que en los Juegos Olímpicos antiguos las mujeres no participaban requiere ciertos matices. En estas páginas se estudian las razones por las que el deporte femenino en la antigua Grecia y sus competiciones se mantuvieron siempre muy estrechamente ligadas al contexto cultual y religioso en el que se celebraban. Sin embargo, en época imperial romana, algunos testimonios han hecho que diversos estudiosos se hayan planteado la posibilidad de que hubiera podido desprenderse de alguna manera de su estrechísima vinculación con los rituales iniciáticos y prematrimoniales, y haber tenido cabida incluso en las grandes competiciones deportivas, quizá ya más como espectáculo que como acto de culto.

Death to Tyrants! Ancient Greek Democracy and the Struggle against Tyranny by David A. Teegarden

BOOK REVIEWS/COMPTES RENDUS 181 and Italian), but because—with the exception of the “mask” of the “furious mother”— the similarity between dogs and women in ancient Greece is not confined to qualities attributed to female dogs (bitches) as such. Rather, it is dogs as a class that are culturally gendered as feminine, in structural opposition to the “masculinity” of wild beasts such as the wolf (142–153). (One might compare the modern English construction of cats as “feminine” as opposed to the “masculine” dog.) This makes perfect sense, yet “bitch” keeps intruding, starting with the dust jacket, which asserts, bafflingly, that in ancient Greece “the word bitch” was “exclusively figured as female.” In the book itself, “she-dog” and “bitch” sometimes appear on the same page in a way that seems arbitrary (e.g., 125). And what are we to make of “bitchiness” and “bitchy” on 153? The word and its cognates would have been better avoided entirely. Such quibbles aside, Shameless not only translates but supersedes the Italian original. It has been significantly updated and revised, and also sports a substantial new Appendix. This explains the project’s genesis and methodology and provides a valuable introduction to the field of animal studies, with a useful survey of the relevant scholarly literature (including the decade subsequent to the Italian edition). Much of this is introductory in a methodological sense, and as such will be of great interest to classicists (and others) who may be entering this burgeoning subfield for the first time. I wish, in fact, that Franco had used this material to create a new introduction to the book, relegating just the survey of literature to the Appendix. That would have been a more effective way to invite her readers into the world of animal studies and locate this particular project in its larger intellectual framework. The English edition does, however, have a new Preface. Here Franco explains that she has eschewed the “British and American” practice of “setting out one’s thesis statements at the head of the work,” in favor of the allegedly Italian practice of presenting one’s hypothesis as a “riddle,” making the path to the conclusion “both more enjoyable and more informative” (vii–viii). Disoriented readers are therefore advised to start with the Conclusion. But this is completely unnecessary, even for a died-in-the-wool AngloAmerican like myself. The argument is perfectly clear from the outset (even in the Italian edition), and the structure of the book will pose no obstacle to Anglophone readers. I very much hope that no reader is deterred by the oddly defensive tone of this Preface. Shameless is an exceptional book that should be read not only by students of gender and/or animal studies, but by anyone with a scholarly interest in ancient Greek cultural history or literature. The University of California Press is to be applauded for making this remarkable and ground-breaking work available to an Anglophone audience. University of Washington Ruby Blondell Death to Tyrants! Ancient Greek Democracy and the Struggle against Tyranny. By David A. Teegarden. Princeton and Oxford: Princeton University Press. 2014. Pp. xiv, 261. In this study, David Teegarden examines the ancient Greek legislation on tyrannicide . Beginning with the observation that the number of democracies increased during the classical and early hellenistic periods, he concludes that pro-democratic agents had developed effective methods to sustain local democratic regimes over time and identifies tyrant-killing legislation as one of their core measures. By encouraging bold individuals 182 PHOENIX to kill (potential) tyrants and by convincing others that such actions were acceptable, the laws and decrees against tyrants facilitated mobilization in the face of anti-democratic threats. To verify these assumptions, Teegarden analyzes six cases: tyrant-killing laws from Athens, Eretria, and Ilion, the Anti-Tyranny Dossier from Eresos and the Philites Stele from Erythrai. Unquestionably, an up-to-date study of tyrant-killing legislation was necessary. The last contribution to this subject by Hans Friedel was published in 19371 and two relevant inscriptions have been discovered since then. Moreover, while Friedel locates the tyrantkilling laws within the broader context of anti-tyranny discourses in ancient Greece, Teegarden recreates the historical and...

Women in Ancient Greece: A Source-book by Bonnie MacLachlan (review)

Reviewed by: Women in Ancient Greece: A Source-book by Bonnie MacLachlan Lydia Matthews Bonnie MacLachlan. Women in Ancient Greece: A Source-book. Bloomsbury Sources in Ancient History. London: Continuum Books, 2012. Pp. xii + 232. US$39.95. ISBN 978144117930. MacLachlan provides a new addition to the growing range of sourcebooks catering to undergraduate courses on women’s lives in the ancient Mediterranean.1 Most of this volume is dedicated to ten chapters setting out the evidence for the lives of Greek women in the Classical period (Part 2). These chapters are flanked by four chapters on women in the Archaic period (Part 1), and one on Hellenistic women (Part 3). Following each chapter is a list of suggestions for further reading. [End Page 97] In Chapters 1–4 we are introduced first to a brief selection of sources from Hesiod, then to passages from the Homeric hymns to Aphrodite and Demeter. Chapters 3 and 4, “Women Divine and Mortal in the Homeric Epics” and “Women and Gender in the Melic and Lyric Poets,” are each much longer than the preceding ones, and the space given over to the selections from Alcman, Sappho, Alcaeus, Ibycus, Anacreon, Archilochus, Hipponax, and Semonides in Chapter 4 is well used. Next MacLachlan turns to the Classical period, introducing the reader to this by way of a long chapter (5), “The Lived Experiences of Girls and Women.” MacLachlan opens by acknowledging the difficulties that scholars encounter in locating contemporary evidence, and few readers will be altogether satisfied by the assurance that later sources are useful because “patterns of social behaviour are slow to change, particularly when reinforced by ritual.” Thus, a great deal of the epigraphic material that is presented in Part 2 is Hellenistic, and likewise many of the literary sources are either Hellenistic or Roman. The material is arranged thematically, detailing the experiences of childbirth, nubile women, married life, wool-working, pregnancy, concubines, wife abuse, adultery, lower-class women, slave women, older women, and women’s roles in death and funerals. Chapter 6, “Women and Property,” records the management of women’s dowries and women’s performance of financial transactions. MacLachlan contrasts a passage of Isaeus, noting the legal prohibition against women performing transactions involving sums greater than a medimnus, with passages from Lysias and Demosthenes describing women doing exactly that. This arrangement nicely illustrates some of the problems associated with taking statements in ancient sources about what women were or were not allowed to do under the law as reflecting the reality of lived experience. Chapter 7 deals with foreign women, with much of it given over to texts relating to Aspasia of Miletus. Chapter 8 collects sources on prostitutes and deals with a number of women in some detail, notably Rhodopis/Doricha (in Herodotus and Sappho)2 and Neaera (Apollodorus). Chapter 9 addresses the religious life of women at various stages in the female life cycle: rituals for young girls, for nymphae, marriage rituals, and rituals for women. Chapter 10 looks at women in the tragic and comic poets and is followed by a chapter called “Dorian Women,” the heading under which the women of Sparta and Gortyn in Crete are discussed. The extracts from the Gortyn law code are chosen to illustrate the liberal treatment of the women of this city in contrast to those of Athens. Here cross-references to the comparative Athenian material would have proved very valuable. The final three chapters of Section 2 are devoted to Platonic and Aristotelian discussions of women’s roles in the ideal state, warrior women (the Amazons, Telesilla, and Artemisia), and finally the female body in the writers of the Hippocratic corpus, Aeschylus, Plato, and Aristotle. [End Page 98] The final chapter of the book, “Women in the Hellenistic Era” (Part 3), contains a wide variety of interesting sources. Amongst these are marriage contracts from Ptolemaic Egypt, curse tablets, a wide selection of fragmentary female poets (Nossis, Anyte, Moero, and Erinna), and an epistolary record of women’s discussions of philosophy and its application to the problems of their own lives. As it stands, Part 3 is only slightly longer than the chapter on Homeric women in Part 1 and could...

The healing hand: the role of women in Graeco-Roman medicine

In contrast with the struggle of 19th and 20th century women all over the world to be admitted to medical schools, women in ancient Greece and Rome were apparently increasingly at liberty to practise medicine from the 4th century BC onwards. The available evidence offers conclusive proof of this more tolerant attitude. The sources are few in number, but fragmentary information can be gleaned from medical writers, passing remarks in Greek and Latin authors, and funerary inscriptions. These sources emphasise the professions of midwife and female doctor. Although there is some overlap between their duties, we find that in Greece a distinction was drawn between maia and iatrike as early as the 4th century BC, while in Rome the two professions of obstetrix and medica or iatrina were well established by the 1st century BC. The training, personal characteristics, qualifications, duties, status and remuneration of practitioners of the two professions will be considered in this study. The funerary inscriptions of female doctors reveal that they were honoured in the same way as men for exceptional services; medical works were also dedicated to them as colleagues, and those of them who wrote texts of their own were quoted with respect. Thus, although there were never very many female doctors, the classical world does not seem to have placed insurmountable obstacles in the way of women who wished to practise medicine.

Evolution of medical education in ancient Greece

he study of ancient Greece is essential for the proper understanding of the evolution of modern Western medicine. An important innovation of classical Greek medicine was the development of a body of medical theory associated with natural philosophy, i.e. a strong secular tradition of free enquiry, or what would now be called “science” (Eπιστήμη). Medical education rests upon the ancient Greek foundations and its history remains a fascinating topic for modern physicians and medical teachers.

Clytemnestra’s Net: Aeschylus’ Oresteia and the Text of Tapestries

Spring 2008 41 Clytemnestra’s Net: Aeschylus’ Oresteia and the Text of Tapestries Megan Shea Ripe with incarnations of the Greek word telos (meaning in its variations: end, sacrifice, goal), the Oresteia, not surprisingly, engenders teleological readings from its scholars. Particularly in the case of gender, such readings take a typical stance in lambasting Aeschylus for creating a trilogy that promotes a restoration of patriarchy. Froma Zeitlin, in her article “The Dynamics of Mythology: Myth and Mythmaking inAeschylus’Oresteia,” most famously traces the progression of social forces in the trilogy from the “matriarchy” of the monstrous Clytemnestra to the “patriarchy” of the male-bornAthena’s democracy.1 Subsequent readings have followed her work,2 causing much of feminist scholarship surrounding the Oresteia to take up the same plot derived, theme based evidence as fact-citing performative moments only to reinforce the teleological reading originating from Zeitlin. Her article, a breakthrough in feminist scholarship, has subsequently become a fixed entity, producing a wealth of similar methods of interpretation. Feminist classical scholarship especially has ignored the terms that evaluation of the performance spectacle can offer. My task is to reverse this trend; exploring the trilogy though its performative moments, I use language and props to re-imagine the spectacle of the Oresteia. One of the strongest visual moments in Greek tragedy occurs when Clytemnestra lures Agamemnon to his death by persuading him to walk into the palace on delicate tapestries. Naturally, the tapestry section of Agamemnon has generated a tremendous amount of discourse in classical scholarship, though the tapestry has not been evaluated as a prop within a performance.Andrew Sofer’s book The Stage Life of Props describes a prop as “something an object becomes, rather than something an object is.”3 In a society without industrial manufacturing, the cultural significance of the object outside of its stage meaning may yield a tension in the object’s becoming a prop. The prop presented cannot be artificial; in other words, unlike props today, it is not something of lesser value meant to represent something that is fine. Instead, the work must be the fine thing itself, woven perhaps by many women in preparation for its one time use in the production. The tapestry Megan Shea is a Ph.D. candidate in Theatre Arts at Cornell University, where she is completing her dissertation, “Antigone’s Daughters: Revolutions in Kinship and Performance.” Her research areas include women in ancient Greece, performance in ancient Greece, kinship, visual studies, and contemporary feminist performance and theatre. A director and actor, Megan is the first Ph.D. student to participate in Cornell’s newly created Advanced Graduate Training Program in Directing. 42 Journal of Dramatic Theory and Criticism is a liminal entity that signifies in the process of its becoming a prop, which in this case means that the prop signifies in the process of its ruination by Agamemnon. But what is being ruined here? Because weaving in ancient Greece was women’s work, the prop itself would be connected to women. And the ruination of the tapestry would signify the ruination of women’s work, leading possibly to the idea of the ruination of women. In this essay, I offer an alternative feminist perspective: concentrating on the construction of the feminine through materiality, I argue that the tapestry creates a connection between textiles and women, which reverberates throughout the trilogy as a representation of women’s plight. Thinking about women’s representations in Athenian performance means thinking about the audience as well. Although women were probably permitted to attend religious festivals such as City Dionysia,4 they still suffered severe restrictions under patriarchalAthens at the time of the Oresteia’s presentation (458 BCE). Wives especially, it seems, were subject to the whims of men. Evidence suggests that most of the time wives were required to stay at home, both as part of their work, and as a social custom. They were to obey the will of their guardians, or kyrioi: women’s fathers, husbands, or closest male relatives (including their sons).5 FemaleAthenian citizens were confined to the home because they were the only women in Athens who could bear legal...

Traces of Power: Recent Books on Women in Antiquity

Traces of Power:Recent Books on Women in Antiquity Laura McClure (bio) Philippe Borgeaud . Mother of the Gods: From Cybele to the Virgin Mary. Trans. Lysa Hochroth. Baltimore: Johns Hopkins University Press, 2004. xix + 186 pp. ISBN 0-8018-7985-X (cl). Susan Guettel Cole . Landscapes, Gender, and Ritual Space: The Ancient Greek Experience. Berkeley: University of California Press, 2004. xiv + 292 pp.; maps. ISBN 0-520-23544-4 (cl). Barbara Goff . Citizen Bacchae: Women's Ritual Practice in Ancient Greece. Berkeley: University of California Press, 2004. xiii + 400 pp.; ill. ISBN 0-520-23998-9 (cl). Diane Kleiner . Cleopatra and Rome. Cambridge, MA: The Belknap Press of Harvard University Press, 2005. 340 pp.; ill. ISBN 0-674-01905-9 (cl). These four ambitious books provide welcome new perspectives on the lives of ancient women, the spaces they inhabited, and the ways in which they influenced their societies. Although long a commonplace of classical scholarship that religion provided the primary access to power for ancient women, scant attention has been paid to the subject. All of these books address some aspect of gender and religion, from the ritual activities of women in ancient Greece, to the evolution of a maternal divinity in pagan religions and her translation to Christianity, and to the profound impact of a deified Egyptian queen on Roman culture. In Landscapes, Gender, and Ritual Space, Susan Guettel Cole explores the intersection of gender and ritual practice in ancient Greece, with close attention to the epigraphical evidence. Meticulously researched, the book weaves together a broad range of evidence, from inscriptions, literary and medical texts, to archaeological remains. What emerges is a complex picture of the organization of ritual space in ancient Greece and the ways it structured political communities. Cole begins by exploring three related and coextensive landscapes: the natural, the human, and the imagined. In Greece, the division of space always had political implications, and stories about the organization of space and the natural landscape were often "infused with gender." Early Greek epics, such as Hesiod's Theogony and the Catalogue of Women, contain [End Page 184] numerous geographical narratives that "locate the individual community in its landscape and connect it to mythic representations of the larger universe" (21). Such narratives also reflected human categories and social hierarchies: for instance, fixed locations, like the hearth, were associated in the Greek imagination with the female. Chapter 2 examines the ways in which the ancient Greeks delimited the human from the divine. Injunctions against washing in a woman's bathwater, setting a boy on a grave, or eating from an unconsecrated pot, illustrate the profound need to separate human physical processes from the divine. Directed to an exclusively male audience, they also show the importance of delineating male from female. The inability to maintain these boundaries could infect the entire political community with pollution, thus requiring constant maintenance through the symbolic marking of perimeters and the repetition of ritual. In chapter 3, Cole considers the form and function of regional sanctuaries. These helped to merge autonomous cities—separated by geography and fiercely independent political structures—into a unified culture of shared traditions. The gods worshipped at these sites—Zeus at Olympia and Apollo at Delphi—promoted the universal recognition of divine laws. Apollo in particular was invested with a judicial authority that transcended political and territorial boundaries, supporting the "process by which cities made decisions and protected citizens from capricious leaders" (73). The fact that his sanctuary at Delphi marked the imaginary center of the world attests to the god's universality. Just as Delphi provided a sacred center that unified separate city-states into a culture of shared traditions and common laws, so, too, each city-state itself was organized around the prytaneion, "a space . . . both sacred and political" (80) that enclosed its common hearth and sacred fire and forged male solidarity and community. Chapter 4 elucidates the gender asymmetries entailed in ritual practice. Because the ancient Greeks worshipped in groups, gender often came into play in ritual contexts. Although it was less common for men and women to participate in shared rituals, there was no single formula for determining ritual constituency. Rituals connected with the body, especially...

Figures of Speech: Men and Maidens in Ancient Greece (review)

Reviewed by: Figures of Speech: Men and Maidens in Ancient Greece Laura K. McClure Figures of Speech: Men and Maidens in Ancient Greece. By Gloria Ferrari. Chicago: University of Chicago Press, 2002. Pp. 352. $60.00 (cloth). Although it has become more and more common in academic disciplines to read visual representations alongside literary texts, the field of classics, [End Page 238] traditionally split into archaeological and philological pursuits, has been slow to bridge the divide. In Figures of Speech: Men and Maidens in Ancient Greece, Gloria Ferrari has managed an almost seamless joining of these two realms, deftly using visual and literary materials to shed light on one another reciprocally. This skillful interweaving affords greater access to the intellectual structures that informed ancient conceptions of gender than a simple art historical or literary analysis. In so doing, Ferrari has given us an ambitious, compelling book that will challenge its readers to rethink some of the prevailing contemporary views of gender and sexuality in ancient Greece. Structural linguistics and semiotic theory play a crucial role in framing this book's argument. The central hypothesis is that the same "projections of thought" (7) inform both literary texts and visual representations inasmuch as both modes make use of metaphor. Ferrari applies Jakobson's model of language as a communicative event to the interpretation of images, with emphasis on pattern, convention, and, especially, context. The utterance or picture comprises the syntagmatic chain in which signs are combined in a particular message; the paradigmatic alludes to the context or to the associations of a community of viewers. Images are analogous to language in that they represent a social construct not easily interpreted by outsiders; as cultural signs, they are subject to organization, combining syntagmatic and paradigmatic associations. This theoretical approach permits Ferrari to show the close connection between Attic vase paintings and "comparable images in different media, some also visual, such as ritual performances, others verbal, such as poetry and mythological narratives" (61). Throughout, she stresses that visual representations do not transparently reflect social or historical reality any more than literary representations but instead are fictions, "things that are thought not to exist but may be imagined" (19). Visual representations of maidens, for example, do not permit us to view the actual condition of women in ancient Greece but, rather, the ways in which femininity was defined. The book falls roughly into two parts, the first of which (chapters 1-3) explores questions of method; namely, how can visual signs be identified, if at all, and how are figures constructed? Ferrari focuses on stock scenes of female wool working, identifying three main themes in which wool working or its implements figure prominently: toilette, domestic tableaux, the reception of male figures, or a combination of these. The author demonstrates that these scenes feature a limited number of figures used repeatedly, like formulas, in a narrow thematic range; simple vignettes serve as the building blocks, or syntagmas, for more complex scenes. In Ferrari's view these scenes emphasize not work but play; indeed, all of them concern not cloth production or housekeeping but rather love and beauty to construct "a certain kind of femininity" (34). Moreover, the location of these scenes is fictional rather than real: they are often set in a courtyard or [End Page 239] front porch (prothura) that mediates the inner world of the palace and its exterior but does not correspond to any real architectural space. In such a place noble youths may approach protected maidens in courtship. This interpretation effectively refutes the traditional view that these scenes represent courtesans (hetairai) and their customers. The vases are also consistent in the ways they represent the spinner: she often appears surrounded by attendants, the visual equivalent of Aphrodite and the Graces or Artemis and her companions; she wraps herself with a cloak in a gesture of modesty or protection; she is preoccupied with bath and costume and with working wool. These wool workers are thus maidens, not sex workers, marriageable girls "sexually charged but innocent of sex" (47). Similarly, the frequent association of wool working with adornment, baths, and perfumes evokes not only the beauty of the maiden but also emphasizes her virginity...

Sappho and Her Sisters: Women in Ancient Greece

Previous articleNext article No AccessReview EssaySappho and Her Sisters: Women in Ancient GreeceMarilyn A. KatzMarilyn A. Katz Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 25, Number 2Winter, 2000 Article DOIhttps://doi.org/10.1086/495449 Views: 115Total views on this site Citations: 1Citations are reported from Crossref Copyright 2000 The University of ChicagoPDF download Crossref reports the following articles citing this article:V. Spike Peterson Sex Matters, International Feminist Journal of Politics 16, no.33 (Jul 2014): 389–409.https://doi.org/10.1080/14616742.2014.913384

Claude Calame, Choruses of Young Women in Ancient Greece. Their Morphology, Religious Role, and Social Functions

Claude Calame, Choruses of Young Women in Ancient Greece. Their Morphology, Religious Role, and Social Functions

Women in Ancient Greece

Women in Ancient Greece

S. Blundell: Women in Ancient Greece. Pp. 224; 45 b/w figs.Cambridge, MA: Harvard University Press, 1995. Paper, $19.95.

S. Blundell: Women in Ancient Greece. Pp. 224; 45 b/w figs.Cambridge, MA: Harvard University Press, 1995. Paper, $19.95.

Women in Ancient Greece

Women in Ancient Greece

The Wedding in Ancient Athens. By John H. Oakley and Rebecca Sinos.

This work reconstructs the stages of the Ancient Greek wedding ceremony using a long-neglected source of information: vase paintings from the sixth through fourth centuries BC. It should be useful for scholars of Greek vases and to those interested in issues of women in Ancient Greece. There are explanations of technical vocabulary within the text and a glossary of Greek terms is included.

Women in Ancient Greece and Rome

Women in Ancient Greece and Rome

Some Recent School Books - Adrian Spooner: Lingo: a Course on Words and How to Use Them. Pupils' Book and Teachers' Pack with Graded Tests [for photocopying]. Pp. vi + 167 (pupils), 32 (teachers); many black and white illustrations, some in cartoon form. Bristol Classical Press, 1988. Paper, £4.95 each vol. - Lawrence Giangrande: Greek in English. Pp. viii +

Some Recent School Books - Adrian Spooner: Lingo: a Course on Words and How to Use Them. Pupils' Book and Teachers' Pack with Graded Tests [for photocopying]. Pp. vi + 167 (pupils), 32 (teachers); many black and white illustrations, some in cartoon form. Bristol Classical Press, 1988. Paper, £4.95 each vol. - Lawrence Giangrande: Greek in English. Pp. viii +