Domina Tempora examines the myths, symbols, and forgotten histories that shaped the ancient world. Hosted by Marianne Fisher, each episode explores how stories of gods, women, monsters, and power were created, interpreted, and transformed. Thoughtful, atmospheric, and sharply researched—this is history told with clarity, elegance, and a touch of danger.
28: When the Women Took the Walls: Telesilla and the Defence of Argos
In battle, Telesilla was formidable. In his Mulierum Virtutes (“Bravery of Women”), Plutarch tells us that in 494 BC, when king of the Spartans Cleomenes I moved his troops against the city of Argives after killing many of the Argaean men, the younger women of Argives rose up to hold off the enemy for their country’s sake. Led by Telesilla, the women took up arms and guard the walls all around the city. Socrates tells us that despite experiencing great loss in their numbers, the women fought Cleomenes and another king, Demaratus, who managed to get inside the city wall and gained possession of the Pamphyliacum. Tune in!
23 Sept 2026
27: Actors, Actresses, and Other Unsavoury People: Life on the Roman Stage
The ancient Greeks loved the theater and ancient Greek actors enjoyed a position of eminence and respect. In contrast, although entertainment and drama were similarly adored in Ancient Rome, theater performers were often belittled by higher society and also perceived as morally unclean. The emperor Tiberius, who ruled Rome from 14 to 37 AD and not the most morally upstanding man himself, urged those of high society and theatrical performers to avoid interacting with one another. Later, Julian the Apostate (who ruled from 361 to 363 AD) would prohibit pagan priests from attending the theater so that the actors and the theater itself did not receive any form of elevation in status because of their attendance. The Roman Empire, then, placed itself in a peculiar position of admiring the performing art yet, at the same time, viewing the theater as a symptom of the degradation of society and the stubborn attachment of the people to it as the worst social curse of the Empire.
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16 Sept 2026
26: The Many Lives of Brunhilde: Shield Maiden, National Symbol, and ‘Fat Lady’ of the Opera
Richard Wagner’s 19th century opera, Der Ring des Nibelungen (The Ring of Nibelungen), affectionately known as The “Ring” Cycle, may be considered by many as the height of operatic absurdity, with larger than life staging, costumes and voices. The image is so ingrained in the modern consciousness that opera lovers and non-lovers alike associate the opera, specifically the character of Brunhilde, with a heavy-set female opera singer wearing her hair in pig-tails, costumed with horned helmet and armor. As the opera went on to make its mark on popular culture, from featuring in an episode of Bugs Bunny to inspiring a Quentin Tarantino film, Brunhilde became a more visually recognizable figure, which is not always followed by immediate association to her name and her story.
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