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Barring some sociopaths, probably, there is nobody who doesn't care about their appearance.
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I was really good at Latin at school, and because I was good at it, I got more interested and got better at it.
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You cannot easily fit women into a structure that is already coded as male; you have to change the structure.
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If women are not perceived to be fully within the structures of power, surely it is power that we need to redefine rather than women?
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I think that what will help women get into positions of power - well, day nurseries, equal pay, family-friendly working hours. And I think all that's important. I used to think it was the solution. I now think it's enabling, and it's important, but still we have got head work to do about this.
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My fantasy is going into a men's loo. And listening to what they say.
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The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.
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A lot of people will always say, 'I really know nothing about the ancient world.' But there's lots and lots of things people know. Partly, they've been encouraged to think they're ignorant about it. In some ways, the job to do is show people that they know much more than they'd like to admit.
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In 1984, I returned to Newnham College at Cambridge University to teach after completing my Ph.D. there a couple of years earlier. Almost all of my colleagues in the university's classics department were men, and my office at the all-women's college was in the dorm.
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There's a basic rule of thumb that the more a culture oppresses women, or oppresses anyone, the more culturally preoccupied they are with that.
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I was 11 when I started Latin - not like boys, who start early at prep school. At 14, you had to choose whether to start Greek and drop German, but my mum made a fuss, and I took Latin, Greek, French, and German at O-level, which meant I didn't do much science.
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One of the downsides of working in antiquity is that you don't have many female voices, but you certainly have a lot of male terror about the potential of women's power. It shows you very clearly that the most oppressive cultures tend to be afraid of those whom they oppress.
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I don't want to see a world in which women can communicate on Twitter, but their actual voices are not heard.
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The gloomiest way of describing the ancient world is it is misogyny from A to Z, really.
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Whatever you say about popular culture, people like people who know things, who are experts, and it doesn't particularly matter what they look like.
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English country towns are often seen as a cultural wasteland, but the more cut off you are, the more the need to create things, to make your own culture.
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In real life, Oxford and Cambridge are two excellent universities, like many others in the country. They are full of highly intelligent, hard-working, and quite ordinary students and teachers.
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History is how we have learnt to think about ourselves. It's not as though the Greeks and Romans are static entities out there to be discovered and translated. We make them speak, we talk to them, and they inform what we say.
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It wasn't until I got to Cambridge that I discovered active discrimination against women.
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We are sold the idea of a refugee as a tiny child sitting crying, as a way of raising money, but elderly ladies and kids largely can't move. The demographic is mostly young men.
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I have lots of heroes and heroines, mostly unsung and including my husband.
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I think, when I was 25, nobody in the world knew who I was.
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I'm exploring the long history of women, first of all, being silenced and, secondly, not being taken seriously in the political and public sphere. It's a call to action through understanding and through looking at ourselves again and trying to reformulate the whole question of women and power.
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When I am making a TV show, I am looking for engagement, not admiration.