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Julius Caesar, ancient Rome's most colourful leader, has been a subject of controversy for more than two thousand years. In the classical world he was celebrated as an inspired military commander, as a law-giver and orator possessed of outstanding drive and intellect. He was also denounced for his ambition, cruelty, concupiscence, and for his overthrow of a noble republic. Over the centuries almost every conceivable characteristic has been attributed to him. His murder--the world's most famous political assassination--began a process which led to the inauguration of the imperial rule that would last for the rest of Roman time. Throughout the medieval and early modern periods Caesar was central to narratives of conquest and resistance, of kingship and subjecthood, of liberty and despotism. There was a time, however, when he was not the most storied figure from classical antiquity. The post-classical phenomenon of a chimerical and ambiguous Caesar is born in thirteenth-century France when the author of the Li Fet des Romains, a monumental prose life of Caesar, chose to complicate the influential view of a monstrous Caesar found in Lucan's epic poem Bellum civile: this decision gave birth to the complex figure that has fascinated ever since. This book offers original translations of texts written between 1170 and 1574 in French, Latin, Italian, and Middle English, accompanied by commentaries which enable the reader to chart the evolution of the Caesar phenomenon throughout the medieval period right up to his first appearances on the early modern stage.
This multidisciplinary collection of essays explores the functions, meanings and use of images and objects in various late Medieval and Early Modern social practices, which were linked by their ritual character. The book approaches ‘ritual’ as an action which is discussed under the general umbrella term “performative practice”, and is characterised by a synthesis between the repetitive and the extraordinary that carries an intense symbolic meaning and is emotionally charged. Images, spaces and rituals were closely interconnected in both the religious and the secular spheres, and played a relevant role in the symbolic communication of the time. The essays in this volume are devoted to a complex study of these phenomena in Northern and Central Europe, including regions which, due to linguistic or cultural barriers, have thus far received comparatively little attention in Anglo-American scholarship, including Scandinavia, Poland and the Baltic states.
This book explores the significance of Julius Caesar to differentperiods, societies and people from the 50s BC through to thetwenty-first century. This interdisciplinary volume explores the significance ofJulius Caesar to different periods, societies and people. Ranges over the fields of religious, military, and politicalhistory, archaeology, architecture and urban planning, the visualarts, and literary, film, theatre and cultural studies. Examines representations of Caesar in Italy, France, Germany,Britain, and the United States in particular. Objects of analysis range from Caesar’s own commentarieson the Gallic wars, through Shakespeare’s Julius Caesar, andimages of Caesar in Italian fascist popular culture, tocontemporary cinema and current debates about Americanempire. Edited by a leading expert on the reception of ancientRome. Includes original contributions by international experts onCaesar and his reception.
"In this book Rhodri Lewis argues that Shakespeare's tragedies are a series of experiments that attempt to tell the truth about the world as Shakespeare sees it, and to discover how far he can stretch tragic affirmation to accommodate the darker aspects of this vision. Lewis argues that Shakespeare worked hard to develop an understanding of what tragedy might be good for; that this understanding emerged from his engagement with the traditions of tragic writing and theorizing that had gone before him; that he used this understanding to shape his tragic plays as carefully patterned aesthetic wholes; and that Shakespeare's understanding of the tragic has "as little to do with Hegel as it does with the unities of tragic time, place, and action that many of Shakespeare's peers and successors busied themselves abstracting from Aristotle's Poetics." Lewis begins the book by tracing the ideas and practices of tragedy as they were known to Shakespeare and his contemporaries in the sixteenth century. He then takes a chronological approach to Shakespeare's plays, ultimately seeking to affirm the status of dramatic art in Shakespeare's time as a medium for telling the truth about the human experience in a world that is not fully susceptible to rational analysis"--
The Renaissance Battle for Rome examines the rhetorical battle fought simultaneously between a wide variety of parties (individuals, groups, authorities) seeking prestige or legitimacy through the legacy of ancient Rome—a battle over the question of whose claims to this legacy were most legitimate. Distinguishing four domains—power, morality, cityscape and literature—in which ancient Rome represented a particularly powerful example, this book traces the contours of this rhetorical battle across Renaissance Europe, based on a broad selection of Humanist Latin Poetry. It shows how humanist poets negotiated different claims on behalf of others and themselves in their work, acting both as "spin doctors" and "new Romans", while also undermining competing claims to this same idealized past. By so doing this book not only offers a new understanding of several aspects of the Renaissance that are usually considered separately, but ultimately allows us to understand Renaissance culture as a constant negotiation between appropriating and contesting the idea and ideal of "Rome."
From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 years What does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book—against a background of today’s “sculpture wars”—Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars,” from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns. Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority. From Beard’s reconstruction of Titian’s extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII’s famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
What actions are justified when the fate of a nation hangs in the balance, and who can see the best path ahead? Julius Caesar has led Rome successfully in the war against Pompey and returns celebrated and beloved by the people. Yet in the senate fears intensify that his power may become supreme and threaten the welfare of the republic. A plot for his murder is hatched by Caius Cassius who persuades Marcus Brutus to support him. Though Brutus has doubts, he joins Cassius and helps organize a group of conspirators that assassinate Caesar on the Ides of March. But, what is the cost to a nation now erupting into civil war? A fascinating study of political power, the consequences of actions, the meaning of loyalty and the false motives that guide the actions of men, Julius Caesar is action packed theater at its finest.
The medieval and early modern English imaginary encompasses a broad range of negative and positive dismemberments, from the castration anxieties of Turk plays to the elite practices of distributive burial. This study argues that representations and instances of bodily fragmentation illustrated and performed acts of exclusion and inclusion, detaching not only limbs from bodies but individuals from identity groups. Within this context it examines questions of legitimate and illegitimate violence, showing that such distinctions largely rested upon particular acts’ assumed symbolic meanings. Specific chapters address ways dismemberments manifested gender, human versus animal nature, religious and ethnic identity, and social rank. The book concludes by examining the afterlives of body parts, including relics and specimens exhibited for entertainment and education, contextualized by discussion of the resurrection body and its promise of bodily reintegration. Grounded in dramatic works, the study also incorporates a variety of genres from midwifery manuals to broadside ballads.
This volume explores the images of Alexander the Great from the fifteenth and sixteenth centuries, how they came about, and why they were so popular. In contrast to the numerous studies on the historical and legendary figure of Alexander, surprisingly few studies have examined, in one volume, the visual representation of the Macedonian king in frescoes, oil paintings, engravings, manuscripts, medals, sculpture, and tapestries during the Renaissance. The book covers a broad geographical area and includes transalpine perspectives. Ingrid Alexander-Skipnes examines the role that humanists played in disseminating the stories about Alexander and explores why Alexander was so popular during the Renaissance. Alexander-Skipnes offers cultural, political, and social perspectives on the Macedonian king and shows how Renaissance artists and patrons viewed Alexander the Great. The book will be of interest to scholars working in art history, Renaissance studies, ancient Greek history, and classics.