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Political Crisis in Rhetorical Exercises of the Early Roman Empire Shunichiro Yoshida the University of Tokyo
ISSN: 2519-1268 Issue 2 (Spring 2017), pp. 39-50 DOI: 10.6667/interface.2.2017.34 Political Crisis in Rhetorical Exercises of the Early Roman Empire SHUNICHIRO YOSHIDA The University of Tokyo Abstract The ancient Romans experienced a great political crisis in the first century B. C. They fought many civil wars, which ended the republic and led to the establishment of the empire. The nature of these civil wars and the new regime was a politically very sensitive question for the next generation and could not be treated in a direct manner. In this paper I shall examine how literature in this age dealt with this sensitive problem. Special attention will be paid on declamations (rhetorical exercises on fictitious themes), which discussed repeatedly themes concerned with political crises such as domestic discord or rule of a tyrant. Keywords: Latin Oratory, Rhetorical Training, Early Roman Empire, Roman Politics © 2017 Shunichiro Yoshida This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. http://interface.ntu.edu.tw/ 39 Political Crisis in Rhetorical Exercises of the Early Roman Empire 1. Politics in Rome in the 1st Century B.C. Rome experienced its greatest political change in the 1st century B.C. Since the latter half of the previous century, its Republican system, which was established in the late 6th century B.C. according to the tradition, proved to contain serious problems. This led to repeated fierce civil wars in Rome. In the middle of the 1st century B.C., Caesar fought against Pompey and other members of the senatorial nobility who tried to defend the traditional system and defeated them completely. -
“With Friends Like This, Who Needs Enemies?”
“With friends like this, who needs enemies?” POMPEIUS ’ ABANDONMENT OF HIS FRIENDS AND SUPPORTERS There are well-known examples of Pompeius’ abandonment of his supporters: Marcus Tullius Cicero and Titus Annius Milo spring readily to mind. One could even include Pompeius’ one- time father-in-law Gaius Iulius Caesar among the number, I suppose. Theirs was a fairly spectacular falling out, leading to the final collapse of the ailing and civil-war-torn Roman republic. The bond between them, forged by the marriage of Caesar’s daughter Julia in 59 and maintained by a delicate and precarious support of each other in the first half of the 50s, was not broken by Julia’s death in childbirth in 54. Having no sons of his own, Caesar had named his son-in-law as principal heir in his will, and his name was not removed until five years later * on the outbreak of the civil war ( Passage 1 : Suet. Iul. 83.1-2), by which time Pompeius had manoeuvred himself – or had he perhaps been manoeuvred? – over to the side of the senatorial conservatives in his endless pursuit of their recognition and acceptance of him as the leading man in the state. The leitmotif of Pompeius’ manoeuvres throughout his career was an overriding concern for the personal political advantage of every move he made – what would best get him ahead in this pursuit of recognition. One of the things which shows this to good effect is his series of marriages – five of them in all. So I will begin my examination of Pompeius’ abandonment of connections, not with an obvious political supporter, but with his dealings with his first two wives, which had sad consequences for both of the ladies involved, as it turned out. -
The Cultural Creation of Fulvia Flacca Bambula
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2017 The cultural creation of Fulvia Flacca Bambula. Erin Leigh Wotring University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the European History Commons, History of Gender Commons, Intellectual History Commons, Political History Commons, Social History Commons, and the Women's History Commons Recommended Citation Wotring, Erin Leigh, "The cultural creation of Fulvia Flacca Bambula." (2017). Electronic Theses and Dissertations. Paper 2691. https://doi.org/10.18297/etd/2691 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE CULTURAL CREATION OF FULVIA FLACCA BAMBULA By Erin Leigh Wotring A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts in History Department of History University of Louisville Louisville, KY May, 2017 Copyright 2017 by Erin Leigh Wotring All rights reserved THE CULTURAL CREATION OF FULVIA FLACCA BAMBULA By Erin Leigh Wotring A Thesis Approved on April 14, 2017 by the following Thesis Committee: Dr. Jennifer Westerfeld, Director Dr. Blake Beattie Dr. Carmen Hardin ii ACKNOWLEDGEMENTS I would like to thank Dr. -
The Ptolemies: an Unloved and Unknown Dynasty. Contributions to a Different Perspective and Approach
THE PTOLEMIES: AN UNLOVED AND UNKNOWN DYNASTY. CONTRIBUTIONS TO A DIFFERENT PERSPECTIVE AND APPROACH JOSÉ DAS CANDEIAS SALES Universidade Aberta. Centro de História (University of Lisbon). Abstract: The fifteen Ptolemies that sat on the throne of Egypt between 305 B.C. (the date of assumption of basileia by Ptolemy I) and 30 B.C. (death of Cleopatra VII) are in most cases little known and, even in its most recognised bibliography, their work has been somewhat overlooked, unappreciated. Although boisterous and sometimes unloved, with the tumultuous and dissolute lives, their unbridled and unrepressed ambitions, the intrigues, the betrayals, the fratricides and the crimes that the members of this dynasty encouraged and practiced, the Ptolemies changed the Egyptian life in some aspects and were responsible for the last Pharaonic monuments which were left us, some of them still considered true masterpieces of Egyptian greatness. The Ptolemaic Period was indeed a paradoxical moment in the History of ancient Egypt, as it was with a genetically foreign dynasty (traditions, language, religion and culture) that the country, with its capital in Alexandria, met a considerable economic prosperity, a significant political and military power and an intense intellectual activity, and finally became part of the world and Mediterranean culture. The fifteen Ptolemies that succeeded to the throne of Egypt between 305 B.C. (date of assumption of basileia by Ptolemy I) and 30 B.C. (death of Cleopatra VII), after Alexander’s death and the division of his empire, are, in most cases, very poorly understood by the public and even in the literature on the topic. -
Ennius Or Cicero? the Disreputable Diviners at Cic
ACTA CLASSICAXLIV(200/) 153-166 ISSN 0065-1141 ENNIUS OR CICERO? THE DISREPUTABLE DIVINERS AT CIC. DE DIV. 1.132 A.T. Nice University of the Witwatersrand ABSTRACT At the end of the first book of Cicero's De Divir1atior1e, Quintus remarks that, even though he believes in divination, there are some diviners whom he would not trust to give accurate predictions. These comments are followed by a quotation from Ennius' Telamo. Most modem scholars have assumed, therefore, that the previous lines also contain an echo, if not a paraphrase of Ennius' work. This supposition does not seem to be supported by the language or style employed by Cicero. The lines should rather be understood as embodying the parochial view that elite Romans had towards forms of divination that were foreign, rustic or mercenary and not practised by the Roman state. I At the end of the first book of De Divinatione ( 1.132), Quintus completes his argument in favour of divination by denying the respectability of certain kinds ofdiviners: Nunc illa testabor, non me sortilegos neque eos, qui quaestus causa hariolentur, ne psychomantia quidem, quibus Appius, amicus tuus, uti solebat, agnoscere; non habeo denique nauci Marsum augurem, non vicanos haruspices, non de circo astrologos, non Isiacos coniectores, non interpretes somniorum; non enim sunt ii aut scientia aut arte divini. 1 The lines that follow, '(sed)2 superstitiosi vates inpudentes harioli ... de his di vitiis sibi deducant drachmam, reddant cetera,' are normally attributed to Ennius. Some previous commentators considered that the Ennius quotation should begin earlier, specifically from 'non habeo denique nauci.' 3 In favour 1 I use here the Teubner edition of R. -
Of the Grand Cameo: a Holistic Approach to Understanding the Piece, Its Origins and Its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, and the Metal and Jewelry Arts Commons Recommended Citation Sidamon-Eristoff, Constantine Prince, "The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context" (2018). MA Theses. 14. https://digitalcommons.sia.edu/stu_theses/14 This Thesis is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context by Constantine P. Sidamon-Eristoff A thesis submitted in conformity With the requirements for the Master’s Degree Fine and Decorative Art and Design Sotheby’s Institute of Art 2018 Word Count: 14,998 The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context By: Constantine P. Sidamon-Eristoff The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. -
Aguirre-Santiago-Thesis-2013.Pdf
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE SIC SEMPER TYRANNIS: TYRANNICIDE AND VIOLENCE AS POLITICAL TOOLS IN REPUBLICAN ROME A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in History By Santiago Aguirre May 2013 The thesis of Santiago Aguirre is approved: ________________________ ______________ Thomas W. Devine, Ph.D. Date ________________________ ______________ Patricia Juarez-Dappe, Ph.D. Date ________________________ ______________ Frank L. Vatai, Ph.D, Chair Date California State University, Northridge ii DEDICATION For my mother and father, who brought me to this country at the age of three and have provided me with love and guidance ever since. From the bottom of my heart, I want to thank you for all the sacrifices that you have made to help me fulfill my dreams. iii ACKNOWLEDGMENTS First and foremost, I want to thank Dr. Frank L. Vatai. He helped me re-discover my love for Ancient Greek and Roman history, both through the various courses I took with him, and the wonderful opportunity he gave me to T.A. his course on Ancient Greece. The idea to write this thesis paper, after all, was first sparked when I took Dr. Vatai’s course on the Late Roman Republic, since it made me want to go back and re-read Livy. I also want to thank Dr. Patricia Juarez-Dappe, who gave me the opportunity to read the abstract of one of my papers in the Southwestern Social Science Association conference in the spring of 2012, and later invited me to T.A. one of her courses. -
Julius Caesar Is Gogol’S Farce, the Government Inspector, a Story About Bureaucracy and Buffoonery, with Everyone on the Hook for Corruption of One Kind Or Another
By William Shakespeare | Directed by George Mount All original material copyright © Seattle Shakespeare Company 2017 WELCOME Dear Educators, Welcome to our new season at Seattle Shakespeare Company. We’ve got a great lineup scheduled, and I hope you’ll join us for several shows this year, whether for student matinees or our free teaching previews. Coming up after Julius Caesar is Gogol’s farce, The Government Inspector, a story about bureaucracy and buffoonery, with everyone on the hook for corruption of one kind or another. In the winter we will be producing Timon of Athens, followed by The Merchant of Venice, which is probably best known for its complex treatment of the character Shylock and the conflict between the Jewish and Christian characters in the play. Finally in the spring we will perform Shakespeare in Love, which will be a school-appropriate version of the story from the movie. We still study Shakespeare after 400 years because of the continued relevance of his plays. This season, filled with politics, intolerance, and corruption, might feel especially relevant. In our first show of the season,Julius Caesar, we’ll be examining the danger of ambition and power, and how the conspiracy and division within a government can lead to the regression of a society. Our production literally turns back the clock, taking the production back in time as the sophisticated and advanced Roman Republic falls into civil war. Thank you for bringing your students to our shows. As always, we hope that our performances spark relevant conversations about the themes in these timeless stories, and how they relate to the world we live in today. -
Pro Milone: the Purposes of Cicero’S Published Defense Of
PRO MILONE: THE PURPOSES OF CICERO’S PUBLISHED DEFENSE OF T. ANNIUS MILO by ROBERT CHRISTIAN RUTLEDGE (Under the Direction of James C. Anderson, Jr.) ABSTRACT This thesis explores the trial of T. Annius Milo for the murder of P. Clodius Pulcher, which occurred in Rome in 52 BC, and the events leading up to it, as well as Marcus Tullius Cicero’s defense of Milo and his later published version of that defense. The thesis examines the purposes for Cicero’s publication of the speech because Cicero failed to acquit his client, and yet still published his defense. Before specifically examining Cicero’s goals for his publication, this thesis considers relationships between the parties involved in the trial, as well as the conflicting accounts of the murder; it then observes the volatile events and novel procedure surrounding the trial; and it also surveys the unusual topographic setting of the trial. Finally, this thesis considers the differences between the published speech and the speech delivered at trial, the timing of its publication, and possible political and philosophical purposes. INDEX WORDS: Marcus Tullius Cicero, Pro Milone, Titus Annius Milo, Publius Clodius Pulcher, Pompey, Gnaeus Pompeius Magnus, Quintus Asconius Pedianus, Roman Courts, Roman Trials, Roman Criminal Procedure, Ancient Criminal Procedure, Roman Rhetoric, Latin Rhetoric, Ancient Rhetoric, Roman Speeches, Roman Defense Speeches, Roman Topography, Roman Forum, Roman Philosophy, Roman Stoicism, Roman Natural Law, Roman Politics PRO MILONE: THE PURPOSES OF CICERO’S PUBLISHED DEFENSE OF T. ANNIUS MILO by ROBERT CHRISTIAN RUTLEDGE B.A. Philosophy, Georgia State University, 1995 J.D., University of Georgia, 2005 A Thesis Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2006 © 2006 Robert Christian Rutledge All Rights Reserved PRO MILONE: THE PURPOSES OF CICERO’S PUBLISHED DEFENSE OF T. -
Seutonius: Lives of the Twelve Caesars 1
Seutonius: Lives of the Twelve Caesars 1 application on behalf of his friend to the emperor THE LIVES OF THE TWELVE CAESARS Trajan, for a mark of favor, he speaks of him as "a By C. Suetonius Tranquillus most excellent, honorable, and learned man, whom he had the pleasure of entertaining under The Translation of Alexander Thomson, M.D. his own roof, and with whom the nearer he was brought into communion, the more he loved Revised and corrected by T. Forester, Esq., A.M. 1 him." CAIUS JULIUS CAESAR. ................................................. 2 The plan adopted by Suetonius in his Lives of the Twelve Caesars, led him to be more diffuse on OCTAVIUS CAESAR AUGUSTUS. .................................. 38 their personal conduct and habits than on public TIBERIUS NERO CAESAR. ............................................ 98 events. He writes Memoirs rather than History. CAIUS CAESAR CALIGULA. ........................................ 126 He neither dwells on the civil wars which sealed TIBERIUS CLAUDIUS DRUSUS CAESAR. ..................... 146 the fall of the Republic, nor on the military NERO CLAUDIUS CAESAR. ........................................ 165 expeditions which extended the frontiers of the SERGIUS SULPICIUS GALBA. ..................................... 194 empire; nor does he attempt to develop the causes of the great political changes which A. SALVIUS OTHO. .................................................... 201 marked the period of which he treats. AULUS VITELLIUS. ..................................................... 206 When we stop to gaze in a museum or gallery on T. FLAVIUS VESPASIANUS AUGUSTUS. ..................... 212 the antique busts of the Caesars, we perhaps TITUS FLAVIUS VESPASIANUS AUGUSTUS. ............... 222 endeavor to trace in their sculptured TITUS FLAVIUS DOMITIANUS. .................................. 229 physiognomy the characteristics of those princes, who, for good or evil, were in their times masters of the destinies of a large portion of the PREFACE human race. -
ROMA SURRECTA: Portrait of a Counterinsurgent Power, 216 BC - AD 72
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences 5-2011 ROMA SURRECTA: Portrait of a Counterinsurgent Power, 216 BC - AD 72 Emerson T. Brooking University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Comparative Politics Commons, Military History Commons, and the Other Political Science Commons Recommended Citation Brooking, Emerson T., "ROMA SURRECTA: Portrait of a Counterinsurgent Power, 216 BC - AD 72" 01 May 2011. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/145. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/145 For more information, please contact [email protected]. ROMA SURRECTA: Portrait of a Counterinsurgent Power, 216 BC - AD 72 Abstract This study evaluates the military history and practice of the Roman Empire in the context of contemporary counterinsurgency theory. It purports that the majority of Rome’s security challenges fulfill the criteria of insurgency, and that Rome’s responses demonstrate counterinsurgency proficiency. These assertions are proven by means of an extensive investigation of the grand strategic, military, and cultural aspects of the Roman state. Fourteen instances of likely insurgency are identified and examined, permitting the application of broad theoretical precepts -
Pompeii and the Roman Villa
Pompeii and the Roman Villa ART AND CULTURE AROUND THE BAY OF NAPLES __________________________________________________________________________________________________ HE ANCIENT GREEK PHILOSOPHER EPICURUS STATED: “PLEASURE IS THE BEGINNING and end of living happily.” This statement rang true for prominent Romans who spent their leisure time in luxurious villas and houses in the towns of TPompeii, Herculaneum, and other ancient Roman towns that were centers of activity along the Bay of Naples in the first century BC and the first century AD. Epicurus’s philosophy appealed to many Romans who retreated to their country homes in the spring and summer months to enjoy a respite from their working lives in Rome. Pompeii, in the region of Campania, retained its Greek culture and character after becoming a Roman colony in 80 BC. The Romans considered Greece a source of culture, beauty, and wisdom, and knowledge of Greek culture was a status symbol that signaled refinement and education. Greek influence pervaded the decor of Roman residences around the Bay of Naples and was reflected in the works of art both acquired and emulated by Roman patrons. Some Romans, when on vacation, even wore Greek dress—such as a chiton for men or a peplos for women—rather than the standard toga of the day. These curriculum materials explore the cultural and artistic life in Pompeii and other towns around the Bay of Naples in the centuries leading up to the eruption of Vesuvius in the year 79. Two works of art, the mosaic Plato’s Academy (1st century BC–1st century AD) and the fresco Garden Scene (1st century BC–1st century AD), are examples of the embellishments applied to the gardens and interiors of Pompeian villas.