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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century. -
Chapter 5 Art Offers a Glimpse at a Different World Than That Which The
chapter 5 Art Art offers a glimpse at a different world than that which the written narratives of early Rome provide. Although the producers (or rather, the patrons) of both types of work may fall into the same class, the educated elite, the audience of the two is not the same. Written histories and antiquarian works were pro- duced for the consumption of the educated; monuments, provided that they were public, were to be viewed by all. The narrative changes required by dyadic rivalry are rarely depicted through visual language.1 This absence suggests that the visual narratives had a different purpose than written accounts. To avoid confusion between dyadic rivals and other types of doubles, I con- fine myself to depictions of known stories, which in practice limits my inves- tigation to Romulus and Remus.2 Most artistic material depicting the twins comes from the Augustan era, and is more complimentary than the literary narratives. In this chapter, I examine mainly public imagery, commissioned by the same elite who read the histories of the city. As a result, there can be no question of ignorance of this narrative trope; however, Roman monuments are aimed at a different and wider audience. They stress the miraculous salvation of the twins, rather than their later adventures. The pictorial language of the Republic was more interested in the promo- tion of the city and its elite members than problematizing their competition. The differentiation between artistic versions produced for an external audi- ence and the written narratives for an internal audience is similar to the dis- tinction made in Propertius between the inhabitants’ knowledge of the Parilia and the archaizing gloss shown to visitors. -
Former Political Prisoners and Exiles in the Roman Revolution of 1848
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1989 Between Two Amnesties: Former Political Prisoners and Exiles in the Roman Revolution of 1848 Leopold G. Glueckert Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the History Commons Recommended Citation Glueckert, Leopold G., "Between Two Amnesties: Former Political Prisoners and Exiles in the Roman Revolution of 1848" (1989). Dissertations. 2639. https://ecommons.luc.edu/luc_diss/2639 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1989 Leopold G. Glueckert BETWEEN TWO AMNESTIES: FORMER POLITICAL PRISONERS AND EXILES IN THE ROMAN REVOLUTION OF 1848 by Leopold G. Glueckert, O.Carm. A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1989 Leopold G. Glueckert 1989 © All Rights Reserved ACKNOWLEDGEMENTS As with any paper which has been under way for so long, many people have shared in this work and deserve thanks. Above all, I would like to thank my director, Dr. Anthony Cardoza, and the members of my committee, Dr. Walter Gray and Fr. Richard Costigan. Their patience and encourage ment have been every bit as important to me as their good advice and professionalism. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
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Saevae Memorem Iunonis Ob Iram Juno, Veii, and Augustus
Acta Ant. Hung. 55, 2015, 167–178 DOI: 10.1556/068.2015.55.1–4.12 PATRICIA A. JOHNSTON SAEVAE MEMOREM IUNONIS OB IRAM JUNO, VEII, AND AUGUSTUS Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit litora, multum ille et terris iactatus et alto vi superum saevae memorem Iunonis ob iram. Aen. I 1–4 Summary: A driving force in Vergil’s Aeneid is the hostility of Juno to the Trojans as they approach, and finally arrive in Italy. The epic in some ways mirrors the opposition encountered by Augustus as the new ruler of Rome. Juno’s opposition to the Trojans has its origin not only in Greek mythology, but in the his- tory of the local peoples of Italy with whom early Romans had to contend. From the outset of the poem she becomes the personification of these opposing forces. Once the Trojans finally reach mainland Italy, she sets in motion a long war, although the one depicted in the Aeneid was not as long as the real wars Ro- mans waged with the Latin League and with the many of the tribes of Italy, including the Veii. The reality of the wars Rome had to contend with are here compared to the relatively brief one depicted in the Aeneid, and the pacification of Juno reflects the merging of the different peoples of Rome with their subjugator. Key words: Juno, saeva, MARS acrostic, Etruscan Uni, evocatio, Veii, Fidenae, Aventinus, Gabii, Prae- neste, Tibur, Tanit, Saturnia, Apollo, Cumae and Hera, asylum, Athena, Aeneas, Anchises’ prophecy An important part of Augustan Myth is found in Vergil’s depiction of Juno, who is named in the opening lines of the epic and is a persistent presence throughout the poem. -
The Sleep of Reason in the Bellum Civile of Petronius (Sat. 119, 58-60)
Paolo Monella, The Sleep of Reason Paolo Monella The Sleep of Reason in the Bellum civile of Petronius (Sat. 119, 58-60) 0. Introduction The Bellum civile, a 289-line epic poem included in the Satyricon by Petronius, is the fruit of a literary polemic. The character Eumolpus, although a pompous and not very successful rhetorician, seems to be acknowledged by the protagonist Encolpius as an arbiter of artistic and especially literary taste (though not without a veil of irony). In chapter 118 of the novel (Handout 4.2), Eumolpus argues against what we could call the corrupt “Lucanian” tendencies of contemporary epic poetry. He claims that by suppressing the role of the gods in favor of fate and men epic poetry has been reduced to some degraded form of “versified history” (cfr. Petr. Sat. 118.6: non enim res gestae versibus comprehendendae sunt, quod longe melius historici faciunt). Eumolpus then provides the Bellum civile, as a specimen of allegedly good epic poetry on the topic of Roman civil wars. The only direct term of comparison is constituted for us by Lucan’s Pharsalia, due to the unfortunate loss of the early imperial epic production. Since the precise target of Eumopus’ polemic is not explicitly mentioned, he could have had in mind Lucan’s precedents or imitators as well. Yet, if we consider the literary success of Lucan in the Neronian period, he has good chances of being at least the main target, and this is the reason why so many studies have focused on the relations between Petronius’ Bellum civile and the Pharsalia, including Sullivan, Walsh, George, Grimal (see the essential bibliography at the end of your Handout, Handout 5). -
Enjoy Your Visit!!!
declared war on Austria, in alliance with the Papal States and the Kingdom of the Two Sicilies, and attacked the weakened Austria in her Italian possessions. embarked to Sicily to conquer the Kingdom of the Two Sicilies, ruled by the But Piedmontese Army was defeated by Radetzky; Charles Albert abdicated Bourbons. Garibaldi gathered 1.089 volunteers: they were poorly armed in favor of his son Victor Emmanuel, who signed the peace treaty on 6th with dated muskets and were dressed in a minimalist uniform consisting of August 1849. Austria reoccupied Northern Italy. Sardinia wasn’t able to beat red shirts and grey trousers. On 5th May they seized two steamships, which Austria alone, so it had to look for an alliance with European powers. they renamed Il Piemonte and Il Lombardo, at Quarto, near Genoa. On 11th May they landed at Marsala, on the westernmost point of Sicily; on 15th they Room 8 defeated Neapolitan troops at Calatafimi, than they conquered Palermo on PALAZZO MORIGGIA the 29th , after three days of violent clashes. Following the victory at Milazzo (29th May) they were able to control all the island. The last battle took MUSEO DEL RISORGIMENTO THE DECADE OF PREPARATION 1849-1859 place on 1st October at Volturno, where twenty-one thousand Garibaldini The Decade of Preparation 1849-1859 (Decennio defeated thirty thousand Bourbons soldiers. The feat was a success: Naples di Preparazione) took place during the last years of and Sicily were annexed to the Kingdom of Sardinia by a plebiscite. MODERN AND CONTEMPORARY HISTORY LABORATORY Risorgimento, ended in 1861 with the proclamation CIVIC HISTORICAL COLLECTION of the Kingdom of Italy, guided by Vittorio Emanuele Room 13-14 II. -
11 Leadership Lessons from Julius Caesar
11 LEADERSHIP LESSONS FROM JULIUS CAESAR If there ever was a most characteristic military leader in history, that was Julius Caesar. Beyond his indisputable ability for strategy, the Roman General stood apart due to his prowess in leadership and his ability to transmit his wisdom and vision to the troops he was commanding who in turn gave Caesar their trust and loyalty. Caesar was born into a patrician family, the gens Julia, which claimed descent from Iulus, son of the legendary Trojan Prince Aeneas. Due to instability in Rome and because of Sullas proscriptions, Caesar the age of 19 Caesar joined the army and served with distinction at the Siege of Mytilene earning the Civic crown. After hearing of Sulla’s death, Caesar thought it safe to return to Rome although Pirates captured him and although eventually released he swore he would hunt them down and kill them, an act he successfully completed. Caesar climbed up the political ladder throughout his life eventually becoming Proconsul of Cisalpine Gaul and Illyricum. Caesar went on to become the greatest General and statesman of his era in which he attained ultimate power and received the title ‘Dictator for life’. However, the underlying political conflicts had not been resolved and on the Ides of March, 44 BC, Caesar was assassinated by a group of rebellious senators led by Gaius Cassius Longinus, Marcus Junius Brutus and Decimus Junius Brutus. Caesar thought differently than his contemporaries and to help us to understand why he stood out as arguably the Greatest Roman who ever lived. Here are some lessons that a bright dead personality could teach us were they alive today, Gaius Julius Caesar – a man so successful in his time that his last name became synonymous with “Emperor”. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Roman Religion
4 Roman Religion 1. “By pietas and fides the Romans Reached TheiR PResent eminence” the strength of Rome rested on a number of foundations. Among these were its extraordinarily vital political culture and its capacity to sustain warfare for extended periods of time. Previous chapters have emphasized these features, but in this chapter and the next, focus shifts to less obvious sources of Rome’s strength, namely the special character of its society whose dual foundations were the household and the civic religion of the city. Roman Religiosity during the period of the Republic, outsiders were struck by the religiosity of the Romans. In the second century b.c., Polybius, a Greek statesman and historian who lived much of his adult life in Rome, claimed that it was “scrupulous fear of the gods that kept the Roman commonwealth together” (6.56). A century or so later another expatriate Greek, Dionysius of Halicarnassus, was also impressed by the concern of Romans for religion. Writing about the second king of Rome, dionysius noted that as a result of Numa’s activities, Rome possessed more religious observances than any other city “Greek or non-Greek, even among those who thought of themselves as most god- fearing” (2.63). Needless to say, Romans themselves promoted the belief that fidelity to their oaths and treaties and their general reverence for the gods explained their imperial success. “the gods look kindly on these qualities, for it was by pietas and fides that Romans reached their present eminence” declared the consul Q. Marcius Philippus in 169 b.c. -
Caesar, Imperator, Dictator, Divus. Un Nome Dal Quotidiano Alla Letteratura, Al Mito E Al Mondo
DAVIDE DE CAMILLI CAESAR, IMPERATOR, DICTATOR, DIVUS. UN NOME DAL QUOTIDIANO ALLA LETTERATURA, AL MITO E AL MONDO. APPUNTI Abstract: Caesar is a name that became famous thanks to two famous works, the Commentaries. Using the artifice of the double, the author adorns his name with every good quality: first of all, his extraordinary strategic and military achievements. He celebrates his own feats, telling how twice he succeeded in crossing the Rhine defeating the Germans; in Britain, too, he twice defeated the indigenous forces; then, of course, there was the ‘pacification’ of Transalpine Gaul following the defeat of Vercingetorix, and his victory in the war against Pompey the Great. Moreover, he is generous with his enemies and a great supporter of justice. It is in the name of justice that he moves against Rome and Pompey the Great. After him, the name of Caesar goes down in history and becomes the symbol of absolute power right up to the present day, until the First World War, when ‘Kaisers’ in Germany and Austria, the Russian Tsar and a Sultan named Kaiser i Rum after the Conquest of Costanti nople, were wiped out. Keywords: Caesar, Commentarii, artifice of the double, symbol of absolute power E Gesù disse: «date a Cesare ciò che è di Cesare, a Dio ciò che è di Dio». Praenomen, Gaius, comune e di scarso rilievo, spesso abbreviato. Nomen, Iulius, prestigioso, della gens Iulia, che si farà risalire a Iulo figlio di Enea, e quindi a Venere, come celebrerà Virgilio con l’Eneide, e comunque espres sione dell’antica nobiltà romana.