Papers by Lisa Hughes
Open Arts Journal, 2021
This essay highlights new perspectives on the deity Hermaphroditus’ role in select Pompeian garde... more This essay highlights new perspectives on the deity Hermaphroditus’ role in select Pompeian garden settings. In particular, it suggests that Hermaphroditus needs to be seen as a convivial participant in Dionysian ritualistic and theatrical performances. Situating the deity in Dionysus’ cultic retinue (e.g. alongside maenads, satyrs/pan, and Silenus) opens the way for a multivalent, lived, sensory approach to these intersexed representations. Hermaphroditus’ role as a convivial participant is especially evident within the contexts of Pompeian dining and the theatrical performances (pantomime) that took place in or near garden settings known as the ‘Dionysian Theatre Garden’. These theatre gardens contained architectural features, visual imagery, and botanical remains that were well-suited to the Dionysian style performances which often featured as part of the Roman dining experience. Ovid’s narrative of Hermaphroditus and Salmacis in Metamorphoses (4.274–388), possibly staged for theatrical performances in these houses, provides a useful case study to demonstrate a performative fusion of role-playing and theatrical narratives, which relied heavily upon visual, audial, and olfactory responses.
Exploring Gender Diversity in the Ancient World, Mar 31, 2020
Logeion, 2014
Pompeii's Casa degli Amorini Dorati (VI.16.7) is noteworthy for the opulent and theatrical treatm... more Pompeii's Casa degli Amorini Dorati (VI.16.7) is noteworthy for the opulent and theatrical treatment of its wall decorations, sculpture and architectural layout of the garden. Typically, however, interest in this house has concentrated on the theatrical elements of the Fourth Style wall paintings found inside. This paper argues that the patron of this domus, possibly a member of the gens Poppaea, chose an architectural layout for the garden area suitable for performances such as pantomime and other small-scale productions that generated interest amongst spectators, especially in the time of the emperor Nero. The paintings, sculptural program, and the elevated western end of the garden area of the Casa degli Amorini Dorati are not only appropriate for the decor of the domus as a whole, but, more importantly, have a more functional element: they may serve as a suitable theatrical backdrop for both performers and audience alike.
Mouseion: Journal of the Classical Association of Canada, 2003
Nouvelle lecture du relief de la famille Gessius (Musée des Beaux-Arts de Boston, fond Archibald ... more Nouvelle lecture du relief de la famille Gessius (Musée des Beaux-Arts de Boston, fond Archibald Cary Coolidge 37.100). Sur cette stèle, la position prééminente, c’est-à-dire les premiers nom et portrait que l’on voit lorsque le relief est lu de gauche à droite, est occupée par une femme. Plus encore, cette femme serait une d’affranchie. Cette place prééminente d’une affranchie sur une stèle éclairent les facteurs qui influençaient l’ordre des noms sur les épitaphes romaines, alors que les autres membres de la maisonnée auraient pu avoir un statut social plus élevé.
"Lisa A. Hughes (‘Roman Women Dressing the Part: The Visual Vocabulary from Paintings an... more "Lisa A. Hughes (‘Roman Women Dressing the Part: The Visual Vocabulary from Paintings and Mosaics’) gives us a detailed look at select wall frescos and mosaics from Roman Pompeii and Herculaneum, with an aim of providing additional insights into the styles, textile colours and textures of dress for female ritual participants, diners, entertainers and workers. She also briefly highlights methodological considerations concerning conservation, preservation and archaeological context. This foray into select Pompeian examples from the late Republican and early Imperial periods discloses a rich source of evidence in terms of the diverse nature of clothing." (4) Dress in Mediterranean Antiquity : Greeks, Romans, Jews, Christians, edited by Alicia J. Batten, and Kelly Olson, Bloomsbury Publishing Plc, 2021. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ucalgary-ebooks/detail.action?docID=6465222. Created from ucalgary-ebooks on 2022-10-24 18:58:37.
Material Religion, 2007
To corroborate that the veil was the standard mode of dress that symbolized pudicitia (virtue or ... more To corroborate that the veil was the standard mode of dress that symbolized pudicitia (virtue or chastity} for Roman matrons during the Augustan period (27 BCE-GE 14), scholars have frequently turned to the ancient material record, especially funerary monuments depicting freedwomen. In this article I demonstrate that there are several difficulties v^ith the evidence and methodological approaches applied to this corpus of evidence. I offer a new approach to show that questions that anthropologists and historians of religion are currently asking about veiling in the Muslim v^^orld can be used to formulate the basis for the wide-ranging representations of ancient Roman veiling practices. This coupled with a reevaiuation of both the iconographic and epigraphic evidence on Italian funerary monuments of freedsiaves reveals various cultic, social, and ethnic factors that may have influenced depictions of Roman freedwomen with or without the veil.
Energy and Buildings, 2013
ABSTRACT Floor and wall subcutaneous convective heating is a common and efficient supplementary s... more ABSTRACT Floor and wall subcutaneous convective heating is a common and efficient supplementary system of heating, ventilation, and air conditioning (HVAC) but the concept dates back nearly 2500 years to when ancient Greeks and Romans used it to warm their bathing facilities. This paper explores the thermal environment of a replica Roman bath resulting from purely subcutaneous convective heating by modelling the bath using computational fluid dynamics (CFD). Previous studies examining the interior of baths have used either heat fluxes or lumped-mass thermodynamics, but neither approach possesses the detail of CFD. The average temperature in the 3 m × 4 m room modelled is 35 °C; however, the hottest air is trapped in the high vault leaving the region inhabited by the patrons significantly cooler than the average. The results also show that stratification is prominent and that the open doorway connecting to the next room heavily influences the room temperature. The results also suggest a relative insensitivity to changes in the convective heat transfer coefficient and addition of humidity to the model. Furthermore, this study not only provides further knowledge about an alternative HVAC system but enhances our understanding of ancient Roman baths. In addition, it offers an insight to a unique thermal environment on the basis of multi-phase and species modelling.
Open Arts Journal, 2021
This essay highlights new perspectives on the deity Hermaphroditus' role in select Pompeian garde... more This essay highlights new perspectives on the deity Hermaphroditus' role in select Pompeian garden settings. In particular, it suggests that Hermaphroditus needs to be seen as a convivial participant in Dionysian ritualistic and theatrical performances. Situating the deity in Dionysus' cultic retinue (e.g. alongside maenads, satyrs/pan, and Silenus) opens the way for a multivalent, lived, sensory approach to these intersexed representations. Hermaphroditus' role as a convivial participant is especially evident within the contexts of Pompeian dining and the theatrical performances (pantomime) that took place in or near garden settings known as the 'Dionysian Theatre Garden'. These theatre gardens contained architectural features, visual imagery, and botanical remains that were well-suited to the Dionysian style performances which often featured as part of the Roman dining experience. Ovid's narrative of Hermaphroditus and Salmacis in Metamorphoses (4.274-388), possibly staged for theatrical performances in these houses, provides a useful case study to demonstrate a performative fusion of role-playing and theatrical narratives, which relied heavily upon visual, audial, and olfactory responses.
In Dress in Mediterranean Antiquity : Greeks, Romans, Jews, Christians. Edited by Alicia J. Batten and K. (Kelly) Olson, T&T Clark, 2021
"Lisa A. Hughes (‘Roman Women Dressing the Part: The Visual Vocabulary from Paintings and Mosaics... more "Lisa A. Hughes (‘Roman Women Dressing the Part: The Visual Vocabulary from Paintings and Mosaics’) gives us a detailed look at select wall frescos and mosaics from Roman Pompeii and Herculaneum, with an aim of providing additional insights into the styles, textile colours and textures of dress for female ritual participants, diners, entertainers and workers. She also briefly highlights methodological considerations concerning conservation, preservation and archaeological context. This foray into select Pompeian examples from the late Republican and early Imperial periods discloses a rich source of evidence in terms of the diverse nature of clothing." (4)
Dress in Mediterranean Antiquity : Greeks, Romans, Jews, Christians, edited by Alicia J. Batten, and Kelly Olson, Bloomsbury Publishing Plc, 2021. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ucalgary-ebooks/detail.action?docID=6465222.
Created from ucalgary-ebooks on 2022-10-24 18:58:37.
Exploring Gender Diversity in the Ancient World. Edinburgh: Edinburgh University Press, 143-, 2020
"Lisa Hughes revisits the characters of Omphale and Hercules in Pompeian domus. Normally, the rep... more "Lisa Hughes revisits the characters of Omphale and Hercules in Pompeian domus. Normally, the representations of the domineering queen Omphale and the subordinate Hercules are figures of mockery and derision; in certain dining contexts in Pompeian domus, however, the figures are treated positively. Hughes argues that this is not a mistake but rather a mode of understanding difference in Neronian theatre. She argues that the blurred gender lines in these representations break down social and cultural barriers, consider the experience of those outside the binary gender norms and ultimately construct new ways to empathise and identify with the everyday domestic and public lives of those who diverge from gender norms" (Surtees and Dwyer, 23-24)
Canadian Medical Education Journal , Mar 31, 2016
Vulnerable persons often face stigma-related barriers while seeking health care. Innovative educa... more Vulnerable persons often face stigma-related barriers while seeking health care. Innovative education and professional development methods are needed to help change this. We describe an interdisciplinary group workshop designed around a discomfiting oil portrait, intended to trigger provocative conversations among health care students and practitioners, and we present our mixed methods analysis of participant reflections. After the workshop, participants were significantly more likely to endorse the statements that the observation and interpretive skills involved in viewing visual art are relevant to patient care and that visual art should be used in medical education to improve students' observational skills, narrative skills, and empathy with their patients. Subsequent to the workshop, significantly more participants agreed that art interpretation should be required curriculum for health care students. Qualitative comments from two groups from two different education and profe...
Logeion, 2014
Pompeii's Casa degli Amorini Dorati (VI.16.7) is noteworthy for the opulent and theatrical treatm... more Pompeii's Casa degli Amorini Dorati (VI.16.7) is noteworthy for the opulent and theatrical treatment of its wall decorations, sculpture and architectural layout of the garden. Typically, however, interest in this house has concentrated on the theatrical elements of the Fourth Style wall paintings found inside. This paper argues that the patron of this domus, possibly a member of the gens Poppaea, chose an architectural layout for the garden area suitable for performances such as pantomime and other small-scale productions that generated interest amongst spectators, especially in the time of the emperor Nero. The paintings, sculptural program, and the elevated western end of the garden area of the Casa degli Amorini Dorati are not only appropriate for the decor of the domus as a whole, but, more importantly, have a more functional element: they may serve as a suitable theatrical backdrop for both performers and audience alike.
Journal of Roman Archaeology, 2014
Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia, 2010
Material Religion: The Journal of Objects, Art and Belief, 2010
Dress, religion, and identity have been the focus of legal debates in Europe and more recently in... more Dress, religion, and identity have been the focus of legal debates in Europe and more recently in North America (e.g. Quebec). In France the burqa has allegedly promoted the subjugation of women, which is seen as encroachment upon laïcité or the separation of church and state. In Quebec, the government is seeking to ban the burqa in a specific context, the environment of government workers. This proposed legislation is seen by many as undermining the fundamental freedom of conscience and religion set by the Charter of Rights and Freedoms. These current issues offer an excellent segue into the roles head coverings have played historically for participants in religious rites. In ancient Rome, for example, head coverings, which took a variety of forms and were not necessarily always the preferred sartorial choice, could offer a means of promoting forms of identity for certain women and men. To better address this point, the temporal focus of the discussion will be the Augustan age (27 bce–14 ce): a time when the leader, Augustus, known as “first among equals,” was responsible for restoring the fallen republic—a leader who attempted on several occasions to bestow traditional views on morality and piety through social legislations. Sculpture depicting veiled women from the Augustan age is often seen as an embodiment of these reforms. It therefore offers an interesting case study to construe what is believed to be normative practice in daily life (Sebesta 1997). Modest head and body coverings on these works essentially have become a symbol of domestic propriety and proper moral conduct especially for aristocratic élite married women—a status symbol purported to have gone hand in hand with the concept of pudicitia (sexual restraint) (Langlands 2006). The Ara Pacis or “Altar of Peace,” originally located in Rome’s Campus Martius,1 is a valuable, yet extremely controversial piece of evidence, used to document social, political, and artistic developments— especially developments related to political and cultic representations of in Augustan Rome (Rehak 2001). Bas‐reliefs celebrating both Rome’s mythical past as well as members of the imperial family and senatorial élite make up the exterior walls of the enclosure. Noteworthy are the procession scenes found on the north and south sides of the enclosure because of the portrayals of the Emperor Augustus, his wife, Livia, and other select members of the imperial family (but certainly not all) with their heads veiled. Livia with head veiled and body modestly covered appears in her so‐called guise of the ideal of the pious, chaste wife on the south frieze (Figure 1). Despite the fact we see both
Material Religion: The Journal of Objects, Art and Belief , 2007
To corroborate that the veil was the standard mode of dress that symbolized pudicitia (virtue or ... more To corroborate that the veil was the standard mode of dress that symbolized pudicitia (virtue or chastity) for Roman matrons during the Augustan period (27 BCE—CE 14), scholars have frequently turned to the ancient material record, especially funerary monuments depicting freedwomen. In this article I demonstrate that there are several difficulties with the evidence and methodological approaches applied to this corpus of evidence. I offer a new approach to show that questions that anthropologists and historians of religion are currently asking about veiling in the Muslim world can be used to formulate the basis for the wide-ranging representations of ancient Roman veiling practices. This coupled with a reevaluation of both the iconographic and epigraphic evidence on Italian funerary monuments of freedslaves reveals various cultic, social, and ethnic factors that may have influenced depictions of Roman freedwomen with or without the veil.
Mouseion: Journal of the Classical Association of Canada, 2003
Book Reviews by Lisa Hughes
American Journal of Philology, 2012
The Classical World, 1994
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Papers by Lisa Hughes
Dress in Mediterranean Antiquity : Greeks, Romans, Jews, Christians, edited by Alicia J. Batten, and Kelly Olson, Bloomsbury Publishing Plc, 2021. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ucalgary-ebooks/detail.action?docID=6465222.
Created from ucalgary-ebooks on 2022-10-24 18:58:37.
Book Reviews by Lisa Hughes
Dress in Mediterranean Antiquity : Greeks, Romans, Jews, Christians, edited by Alicia J. Batten, and Kelly Olson, Bloomsbury Publishing Plc, 2021. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ucalgary-ebooks/detail.action?docID=6465222.
Created from ucalgary-ebooks on 2022-10-24 18:58:37.