Discussions and analytical models of gender studies have gained prominence in postclassical and emancipation-oriented narratology, partly under the rubric of feminist narratology, and influence theorizing in all key narrative categories such as focalization, time, and space.

An important starting point for gender studies lies in the observation that perceptions of the world are filtered through the subjective perspective of the narrator or the characters (within or outside the narrated world): "Feminist criticism [...] interrogates "masculinity" as part of a complex set of social relations in which men and women are both seen as governed by cultural stereotypes and ideologies." (Greene 1998, xi). Because all characters in the text are anchored in a specific cultural context, their perception is always shaped by their environment and previous experiences, which result in an (un)conscious coloring of the text. Thus, gender-based structures can become entrenched and naturalized on the basis of the societal micro-level (cf. Foucault's Genealogy of Power).

Such a naturalization effect can be observed, for example, in the phenomenon of the male gaze. The male gaze originally stems from Laura Mulvey's film theory. Based on Freudian psychoanalysis, she describes the representation of gender relations in film by showing the patriarchal male gaze on the objectified woman. In addition to the gender-based decoding of texts, such a sensitization creates awareness of the perspectival imprint of literature and sheds light on the closely related power relations, the violence linked to them, any (im)balances, or even ambiguity.

Especially in the analysis of ancient literature, a more detailed look at the coloring of the text through the male lens (for example, in Catullus) seems essential, since ancient texts can be attributed a predominantly male audience and were mostly written by an equally male narrative entity (cf. Skinner 1998, 450 f). Feminist criticism, as Susan Lanser has described the enterprise "is an optimistic enterprise, eager to account for the whole of its relevant universe" (Lanser 1986, 341). This approach opens up a more accurate way of looking at ancient cultural phenomena and their literary reflection. However, it is important to be aware that this perspective is also shaped by our own cultural presuppositions: we can only interpret what we (want to) see. 

(Student contribution by Jana Kemmler, B.Ed.)