Historia Augusta Authorship: an Approach Based on Measurements of Complex Networks
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1 SATIRE in the HISTORIA AUGUSTA by SHAWN GAIUS
SATIRE IN THE HISTORIA AUGUSTA By SHAWN GAIUS DANIELS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Shawn Gaius Daniels 2 Matri meae 3 ACKNOWLEDGMENTS First, I would like to thank my advisor, Dr. Victoria Pagán. When I began to read the Historia Augusta in the Summer of 2010, I was struck most by its humor. Dr. Pagán recommended that I turn to Northrop Frye and his Anatomy of Criticism to find a theoretical basis on which to understand the role of humor, and it is there that I found a definition of satire that took me on the road to the present work. A large portion of the bibliography and the majority of the organizational structure came from the many conversations we held over the past three years. Without her unflagging support and invaluable advice, this project would not have been completed. I owe many thanks to Dr. Trevor Luke, of Florida State University. He found time, even at conferences, to speak with me individually about my research—once even driving down from Tallahassee to discuss a rough draft he had read the week before. His penetrating questions and moral support have kept me critical of my own work. I would also like to thank the other members of my committee, Dr. Andrew Wolpert, Dr. Kostas Kapparis, and Dr. Terry Harpold for sparing their time to help see that I accomplish this task. I would like to thank several former teachers and professors for helping bring me to this point. -
Hic Finis Antoninorum Nomini in Re Publica Fuit. Assassination of Emperor Elagabalus and Condemnation of His Memory*
View metadata, citation and similar papers at core.ac.uk brought to you by CORE res historica 48, 2019 DOI: 10.17951/rh.2019.48.37-54 Krzysztof Królczyk (adam Mickiewicz University, Poznań) https://orcid.org/0000-0002-0923-0940 Hic finis Antoninorum nomini in re publica fuit. assassination of emperor elagabalus and condemnation of his Memory* Hic finis Antoninorum nomini in re publica fuit. Śmierć cesarza heliogabala i potępienie jego pamięci abstract The following article discusses the events that took place in Rome on 12th March 222 AD. On that day, the Roman emperor M. Aurelius Antoninus, also known as Elaga- balus or Heliogabalus, was assassinated. Together with him perished his mother, Julia Soaemias, as well as some persons from his nearest circle. However, Elagabalus’ death did not put an end to the spiral of violence: the city of Rome saw then, for the second time in its history, the maltreatment of the emperor’s body, which was denied the right of a wor- thy burial. Elagabalus was not only brutally murdered, but he also became a victim of the policy of condemnation of memory (so called damnatio memoriae) which was ordered by the Roman senate. The senators decided that the part of emperor’s name, i.e. the nomen Antoninus, had to be removed from all official documents and inscriptions. The portraits of the emperor were also destroyed. Shortly afterwards, Elagabalus was stylized as a perso- nification of all kinds of evil and as a true monster on the throne, and thus immortalized in the historical memory of Rome. -
Jowisz, Jahwe I Jezus
Robert Suski Jowisz, Jahwe i Jezus Religie w Historia Augusta PARNASSUS Seria naukowa Global Scientific Foundation PARNASSUS Seria naukowa pod redakcją dr. Macieja Staniszewskiego 1. Marek Węcowski, Sympozjon czyli wspólne picie. Początki greckiej biesia- dy arystokratycznej (IX–VII wiek p.n.e.) 2. Krystyna Stebnicka, Tożsamość diaspory. Żydzi w Azji Mniejszej okresu Cesarstwa 3. Aleksander Wolicki, Symmachia spartańska w VI–V wieku p.n.e. 4. Robert Wiśniewski, Wróżbiarstwo chrześcijańskie w późnym antyku, czyli jak poznać przyszłość i nie utracić zbawienia 5. Lech Trzcionkowski, Bios – thanatos – bios. Semiofory orfickie z Olbii i kultura polis 6. Paweł Janiszewski, Panthera – ojciec Jezusa. Geneza idei, antyczne przekazy, późniejsze polemiki 7. Katarzyna Pietruczuk, Dzieje tekstu Ajschylosa, Sofoklesa i Eurypidesa między Atenami i Aleksandrią 8. Robert Suski, Jowisz, Jahwe i Jezus. Religie w Historia Augusta 9. Paweł Janiszewski, Afrodyta Urania. Fizyczne, mistyczne i teurgiczne teofanie Niebiańskiej Bogini w czasach późnego antyku (relacje i asocjacje) 10. Emilia Twarowska-Antczak, Od lex Iulia municipalis do flawijskich leges municipales. Rozwój rzymskiej administracji municypalnej w okresie od Juliusza Cezara do Domicjana 11. Stanisław Adamiak, Deo laudes. Historia sporu donatystycznego 12. Dominika Lewandowska, Androgyn czy hermafrodyta? Studium nad hermafrodytyzmem w źródłach antycznych Robert Suski Jowisz, Jahwe i Jezus Religie w Historia Augusta Global Scientific Foundation 2020 Recenzja naukowa prof. dr hab. Ewa Wipszycka-Bravo Redakcja Ida Radziejowska Korekta Halina Stykowska Indeks Elżbieta Sroczyńska Skład i łamanie PanDawer, www.pandawer.pl Projekt okładki Michał Baranowski ISBN: 978-83-957817-2-8 Wydanie II. Wydanie I w wersji papierowej ukazało się nakładem Wydawnictwa Naukowego Sub Lupa. Kopia bezpłatna. Użycie niekomercyjne. Bez utworów zależnych. -
Representing the Severan Empresses
REPRESENTING THE SEVERAN EMPRESSES Women as Rhetorical Devices in the Narratives of Roman Imperial Historiography Reinier Langerak Student number: 4163176 RMA Ancient, Medieval, and Renaissance Studies Utrecht University Supervisor: Dr. Saskia Stevens Second Reader: Dr. Rolf Strootman A thesis submitted for the degree of Master of Arts September 2020 Abstract This thesis examines the narrative and rhetorical functions of the Severan empresses – Julia Domna, Julia Maesa, Julia Soaemias, and Julia Mamaea – in the historiographical works by Cassius Dio, Herodian, and in the Historia Augusta. These works have fundamentally shaped our perceptions of the Severan empresses and the Severan era at large. These depictions, however, should not be taken at face value and are, as this thesis aims to show, best understood as rhetorical devices. By placing the depictions of these women in the broader context of the aims of Roman imperial historiography as a genre and the Roman historiographers’ respective narratives and theses, this thesis argues that the characterisations of the Severan empresses were first and foremost determined by their rhetorical functions in the assessments of their male kin – particularly their imperial (grand)sons. The portrayals of the Severan empresses were furthermore formed by subverting the ideal of the Augusta and the official Severan representations of these women, by eastern stereotypes, and earlier historiographical depictions of other imperial women. “And I have met my destiny in quite a similar way, The history book -
The Historia Augusta and Pagan Historiography A.R
CHAPTER FOUR THE HISTORIA AUGUSTA AND PAGAN HISTORIOGRAPHY A.R. Birley The Scholiast on Juvenal, writing in the later fourth century,1 reg- isters (on Juv. 4.53) the condemnation of the delator Palfurius Sura after the death of Domitian, and names three others, sicut Marius Maximus scribit. Ammianus, in his second diatribe on the mores of the Eternal City, comments sarcastically on the cultural deficiencies of the aristocracy. He had already written of their frivolous interests, singers and actors rather than philosophers and orators, and of their libraries, closed for ever like tombs (14.6.18). Now, he notes, “some of them, while hating learning like poison, read Juvenal and Marius Maximus with particular eagerness, turning over no volumes but these in their profound leisure—the reason for this is not a matter for my humble judgement”. Considering their claims to glory and noble ancestry, he thought they should read a great deal (28.4.14–15).2 These mentions apart, Maximus’ writings are known only from the Historia Augusta (hereafter HA): biographies of emperors, their heirs, and usurpers from Hadrian to the sons of Carus.3 The HA quotes Maximus’ vitae of Trajan, Hadrian, Antoninus Pius, Marcus Aurelius, Commodus, Pertinax, Severus, and Elagabalus. It has one general citation, “as Marius Maximus says in the life of many [sc. 1 The terminus post quem is the prefecture of Naeratius Cerialis, A.D. 352–3 (PLRE I Cerealis 2), referred to on 10.24. 2 Ammianus exaggerates: some aristocrats knew the classics, cf. Macrobius; or Holy Scripture, cf. Jerome. 3 In the oldest manuscript the work is called vitae diversorum principum et tyrannorum a divo Hadriano usque ad Numerianum diversis conpositi (sic). -
The Pleasures and Punishments of Roman Error: Emperor Elagabalus at the Court Of
The Pleasures and Punishments of Roman Error: Emperor Elagabalus at the Court of Early Cinema Maria Wyke On Sunday 5th November 1911, the high-society newspaper Le Gaulois drew to the attention of its Parisian readers an exciting package of films showing at 2:30pm that afternoon at the Gaumont Palace in Place de Clichy. The variety programme would include: “‘Elagabalus,’ a grand Roman spectacle; Gaumont’s talking films; for the first time, ‘A sensational chase in an aeroplane with Legagneux piloting and Martinet at the gun’; ‘A catastrophe in Pennsylvania’; ‘A town destroyed by a flood.’”1 The following week a periodical of the French film industry, Ciné-Journal, carried a full-page spread provided by the Gaumont company that further advertised the first of these films as a “grand drama in color” of 200 meters (that is, one reel of about eight minutes duration). Beneath the alternative title The Roman Orgy (L’Orgie Romaine), a production still displayed the garlanded and bejeweled emperor surrounded by his Praetorian Guard. Elagabalus cowers on his couch before the soldiers’ commander who, with sword menacingly unsheathed in his right hand, points accusingly at him with his left.2 The grand Roman drama was being 1 Le Gaulois (5 November 1911, p. 3): “‘Héliogabale,’ grande scène romaine; les films- parlants Gaumont; pour la première fois, ‘Une Chasse sensationnelle en aéroplane avec Legagneux au Volant et Martinet au fusil’; ‘Une Catastrophe en Pensylvanie’; ‘Une Ville détruite par une inondation.’” Unless otherwise indicated, all translations are my own. For convenience, I shall call the emperor by his customary Latin name “Elagabalus” although the film draws on its Greek version to identify him as “Héliogabale.” 2 Ciné-Journal (11 November 1911, 4.168, p. -
The Scriptores Historiae Augustae with an English Translation
i i 00 i 1 I I I I I I I I i I I VOI M i I I I 00 i 1 I I i I I it I 1 I a GO I I i I I I i i i I I 1 no i i i i n 1 i l I i I tores Historiae or Histona The Scrip Augustae, is of Augusta, a collection of biographies Roman emperors, heirs, and claimants from Hadrian to Numerianus (AD 117- 284). The work, which is modeled on Suetonius, purports to be written by six different authors and quotes documents Since and public records extensively. we of the possess no continuous account emperors of the second and third centur- has ies, the Historia Augusta naturally attracted the keen attention of scholars. In the last century, however, it has generated Present the gravest suspicions. opinion holds that the whole is the work of a author lived in the time of single (who Theodosius) and contains much that is and even downright FplagiarismO & forgery.& J The Loeb Classical Library edition of the J Historia Augusta is in three volumes. NY PUBLIC LIBRARY THE BRANCH LIBRARIES 923. 137 S Augustan h ist< 3 3333 13099 9580 99023 vol , MM The NewYork HSS Public Library Astor, Lenox and Tilden Foundations The Branch Libraries MID-MANHATTAN LIBRARY MM 455 Fifth Avenue fj New York, N.Y. 10016 Books and non-print media may be returned to any branch of The New York Public Library. Music scores, orchestral sets and certain materials must be returned to branch from which borrowed. -
Historia Augusta
Forging a History: the Inventions and Intellectual Community of the Historia Augusta by Kathryn A. Langenfeld Department of Classical Studies Duke University Date:_______________________ Approved: ___________________________ Mary T. Boatwright, Supervisor ___________________________ William A. Johnson ___________________________ Jennifer Clare Woods ___________________________ Catherine Chin Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classical Studies in the Graduate School of Duke University 2017 ABSTRACT Forging a History: the Inventions and Intellectual Community of the Historia Augusta by Kathryn A. Langenfeld Department of Classical Studies Duke University Date:_______________________ Approved: ___________________________ Mary T. Boatwright, Supervisor ___________________________ William A. Johnson ___________________________ Jennifer Clare Woods ___________________________ Catherine Chin An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classical Studies in the Graduate School of Duke University 2017 Copyright by Kathryn A. Langenfeld 2017 Abstract This dissertation reexamines the origins, intent, and perceived historical value of the fourth-century series of Latin imperial biographies known as the Historia Augusta. Over the course of the twentieth century, the text was interpreted as a historical “forgery” created by a “rogue scholar” who took pleasure in deceiving most, if not all, of his audience into accepting at face value the text’s false attribution to six fictitious biographers, its spurious imperial dedications, and its reliance on fabricated sources. In the last decade, studies have instead begun to suggest that many of the “fraudulent” elements of the Historia Augusta were not intended to deceive but rather entertain knowledgeable readers by interpolating elements from the ancient novel into a biographical text.