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Receptions of Julius Caesar in the Cold War Years 1945-65

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Receptions of Julius Caesar in the Cold War Years 1945-65 Demagogue, Conqueror, Dictator: Receptions of Julius Caesar in the Cold War Years 1945-65 Tyla Cascaes Bachelor of Arts (Hons I) Bachelor of Arts 0000-0002-3253-0837 A thesis submitted for the degree of Master of Philosophy (Classics) at The University of Queensland in 2020 Historical and Philosophical Inquiry xiv Abstract This thesis will investigate how images of Julius Caesar have been used to influence and facilitate discussions of power in the present, particularly in the years 1945-65, from the end of the Second World War to the escalation of American involvement in Vietnam. This period marks the beginning of the Cold War and witnesses a number of notable cultural and political developments, including the prominence of democratic and Republican politics in the West, a general opposition to large-scale global warfare, and an increasing concern for cultural and gender equality. This unique context influences the use of Caesar in this period. Each chapter of this thesis will focus on a common trope of Caesar which appears frequently in film, literature, and popular culture. Namely, Caesar as a demagogue, or popular Republican politician, a conqueror, and a dictator. Wherever possible the case studies included in these chapters will draw on Caesars from a range of genres and locations in order to provide a well-rounded view on the overall use of Caesar in this period. The texts analysed in this thesis include epic films such as Spartacus (1960) and Cleopatra (1963), peplum films including Caesar against the Pirates (1962) and Caesar the Conqueror (1962), and works of literature and popular culture such as Rex Warner’s Young Caesar (1958), Jules Archer’s Twentieth Century Caesar: Benito Mussolini (1963), and early editions of The Adventures of Asterix. By highlighting the broad international – though predominantly western - use of these tropes, this thesis will argue that different images of Caesar were employed to promote a range of national, political, and cultural causes during this period. These images of Caesar are used to comment on ideal leadership and to criticise recent or contemporary leaders. Caesar, therefore, becomes an element for understanding and questioning the Cold War. He is upheld as a pillar of Western culture and is often intrinsically linked with issues of national identity. Further, this thesis will demonstrate how different images of Caesar were used to express national, political, or cultural power in these spheres. xv Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly authored works included in the thesis. xvi Publications included in this thesis No publications included. Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature No other publications. Contributions by others to the thesis No contribution by others. Statement of parts of the thesis submitted to qualify for the award of another degree No works submitted towards another degree have been included in this thesis. Research involving human or animal subjects No animal or human subjects were involved in this research. xvii Acknowledgments There are a number of people who have been indispensable in the completion of this thesis. First, I would like to express my sincere and earnest gratitude to my principal advisor, Associate Professor Tom Stevenson. I am inexplicably grateful for your professional advice and insight. But even more so, for you unfaltering patience, support, and reassurance which are of particular importance to an occasionally (regrettably) insecure student. Above all else, your dedication to your students, at all levels, is deeply appreciated by every one of us. Thanks is due to my secondary advisor, Professor Alastair Blanshard for his valuable insight and feedback. I would say that my advisors have been essential in the completion of this thesis. However, it would be far more accurate to say that this thesis would not exist in any form were it not for their undergraduate courses which sparked my interest in this field. Thanks is also due to Dr Janette McWilliam for her kind support and encouragement. Thank you also to Dr Angie Kahler for helping me navigate unchartered administrative waters from confirmation to submission. To my friends and colleagues, old and new, thank you for all the time you have spent proof-reading, editing, and brainstorming. Throughout this process you have been my sounding-boards, my shoulders to cry on (sometimes literally), and my number one support system. Above and beyond this, thank you for listening to me, encouraging me, and celebrating with me. It has become practically impossible to distinguish colleague from friend. For this I am especially grateful. Finally, to my family, especially my mother and grandmother. Thank you for your endless love and support, and for providing me with the best examples of compassion, strength, and resilience. I am indebted to you all. xviii Financial support This research was supported by an Australian Government Research Training Program Scholarship. Keywords Julius Caesar, Caesar-figure, Cold War, Film, Reception, Popular Culture. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 210306, Classical Roman History, 100% Fields of Research (FoR) Classification FoR code: 2103, Historical Studies, 100% 1 Table of Contents List of Figures: ................................................................................................................................ 3 List of Abbreviations: ..................................................................................................................... 4 Chapter One: An Introduction to Modern Receptions of Caesar ............................................... 5 Methodology ............................................................................................................................ 7 The Reception of Caesar before 1945 .................................................................................... 10 Cultural Receptions of Caesar................................................................................................ 19 A Review of Relevant Scholarship ........................................................................................ 23 Historical Setting.................................................................................................................... 28 Contribution to Scholarship ................................................................................................... 32 Chapter Two: Pirates and Popular Politics: Receptions of a Demagogic Caesar .................... 34 Spartacus (1960) .................................................................................................................... 36 Julius Caesar against the Pirates (1962) ............................................................................... 45 Young Caesar (1958) ............................................................................................................. 53 Chapter Three: He came, He saw, He conquered: Receptions of Caesar as the Conqueror or Civiliser of Gaul ....................................................................................................................... 62 The Adventures of Asterix ..................................................................................................... 62 Caesar as a Conqueror in Film .............................................................................................. 77 The Slave (1962) .................................................................................................................... 78 Caesar the Conqueror (1962) ................................................................................................ 80 The Giants of Rome (1964) .................................................................................................... 85 Chapter Four: Dictator Perpetuo: Enduring Receptions
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