Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome

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 (clara...

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Main Author: Lovisa Brännstedt
Format: Article
Language:deu
Published: Université de Lille 2024-01-01
Series:Eugesta
Online Access:http://www.peren-revues.fr/eugesta/index.php?id=1440
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author Lovisa Brännstedt
author_facet Lovisa Brännstedt
author_sort Lovisa Brännstedt
collection DOAJ
description 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.
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spelling doaj.art-904d0d08ffc94481ba40c31a3412acfe2024-02-19T08:13:08ZdeuUniversité de LilleEugesta2265-87772024-01-011310.54563/eugesta.1440Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial RomeLovisa Brännstedt 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.http://www.peren-revues.fr/eugesta/index.php?id=1440
spellingShingle Lovisa Brännstedt
Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome
Eugesta
title Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome
title_full Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome
title_fullStr Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome
title_full_unstemmed Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome
title_short Aemilia Lepida and the imago of Pompey. Female agency and the negotiation of public space in early imperial Rome
title_sort aemilia lepida and the imago of pompey female agency and the negotiation of public space in early imperial rome
url http://www.peren-revues.fr/eugesta/index.php?id=1440
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