Political Memory and The Constantinian Dynasty: Fashioning Disgrace Rebecca Usherwood 2024 Scribd Download
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NEW APPROACHES TO
BYZANTINE HISTORY AND CULTURE
Series Editors
Florin Curta, University of Florida, FL, USA
Leonora Neville, University of Wisconsin Madison, WI, USA
Shaun Tougher, Cardiff University, Cardiff, UK
New Approaches to Byzantine History and Culture publishes high-quality
scholarship on all aspects of Byzantine culture and society from the fourth
to the fifteenth centuries, presenting fresh approaches to key aspects of
Byzantine civilization and new studies of unexplored topics to a broad
academic audience. The series is a venue for both methodologically
innovative work and ground-breaking studies on new topics, seeking to
engage medievalists beyond the narrow confines of Byzantine studies.
The core of the series is original scholarly monographs on various
aspects of Byzantine culture or society, with a particular focus on books
that foster the interdisciplinarity and methodological sophistication of
Byzantine studies. The series editors are interested in works that combine
textual and material sources, that make exemplary use of advanced
methods for the analysis of those sources, and that bring theoretical prac-
tices of other fields, such as gender theory, subaltern studies, religious
studies theory, anthropology, etc. to the study of Byzantine culture and
society.
Political Memory
and the Constantinian
Dynasty
Fashioning Disgrace
Rebecca Usherwood
Trinity College Dublin
Dublin, Ireland
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG 2022
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc.
in this publication does not imply, even in the absence of a specific statement, that such
names are exempt from the relevant protective laws and regulations and therefore free for
general use.
The publisher, the authors and the editors are safe to assume that the advice and informa-
tion in this book are believed to be true and accurate at the date of publication. Neither
the publisher nor the authors or the editors give a warranty, expressed or implied, with
respect to the material contained herein or for any errors or omissions that may have been
made. The publisher remains neutral with regard to jurisdictional claims in published maps
and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
For my parents, Carole and David
Acknowledgements
vii
viii ACKNOWLEDGEMENTS
1 Introduction 1
Political Memory, Disgrace, and Oblivion 7
Discourses of Disgrace 14
Central Direction and Local Action 21
The Materiality of Disgrace 26
References 39
2 Maximian 49
The Fall of Maximian 50
Disgrace and Iconoclasm 54
Maximian’s Disgrace in Constantine’s Territories 59
Civil War and the Spectre of Maximian 67
Maximian’s Disgrace in the Wider Roman World 75
Rehabilitating Maximian? 95
Conclusion: The Blurred Lines of Disgrace 105
References 106
3 Licinius 111
Licinius and Constantine 112
Civil War and a New Alliance 118
Licinius and the Law 128
The Disgrace of Licinius 132
Conclusion: The Emperor Vanishes 156
References 157
ix
x CONTENTS
4 Crispus 163
Crispus and Constantine 165
Silence and Scandal: Crispus’ Downfall in Ancient Accounts 172
Treason and Condemnation: Modern Interpretations 178
Crispus as a Disgraced Figure 182
Crispus and the Licinii 184
Crispus and the Constantinian Family 188
Conclusion: Constantinian Disgrace 207
References 208
5 Magnentius 213
Magnentius’ Supporters 217
The Disgrace of Constans 233
The Disgrace of Magnentius 250
Conclusion: The Limits of Disgrace 260
References 261
6 Epilogue 267
References 270
AE L’Année épigraphique
CIL Corpus Inscriptionum Latinarum
ICUR Inscriptiones Christianae Urbis Romae
IG Inscriptiones Graecae
ILAlg Inscriptions Latines de l’Algérie
ILS Inscriptiones Latinae Selectae
ILTun Inscriptions Latines de la Tunisie
InscrIt Inscriptiones Italiae
LSA Last Statues of Antiquity (http://laststatues.classics.ox.ac.uk/)
PLRE Prospography of the Later Roman Empire
RIC Roman Imperial Coinage
SEG Supplementum Epigraphicum Graecum
xi
List of Figures
Fig. 2.1 Plaque from statue base of Maximian from Segarra (AE
1908.3) (Illustration by author) 62
Fig. 2.2 Follis of divus Maximian, RIC VI Ostia no. 26. ANS
1984.146.117 (Photograph: American Numismatic
Society, reproduced with kind permission) 70
Fig. 2.3 Transcription of statue base of Maxentius from Caesarea
(CIL VIII.20989) 72
Fig. 2.4 Plaque from statue base of Diocletian and Maximian
with rededication to divus Maximian from Aletrium (CIL
X.5803, 5805) (Illustration by author) 73
Fig. 2.5 Statue base of Maximian from Patavium (CIL V.2818)
(Illustration by author) 81
Fig. 2.6 Transcription of fragmentary building plaque
with dedication to Diocletian as Senior Augustus,
from Tuscania (AE 1964.235) 82
Fig. 2.7 Fragments of Baths of Diocletian dedication panel(s)
from Rome (Museo Nazionale Romano, Terme di
Diocleziano, Inv. n. 115,813; 39,893. Photograph
by author, reproduced with kind permission
of the Ministry of Culture, Museo Nazionale Romano) 85
Fig. 2.8 Detail of fragment ‘d’ of Baths of Diocletian
dedication panel(s) (Museo Nazionale Romano,
Terme di Diocleziano, Inv. n. 115,813; 39,893.
Photograph by author, reproduced with kind permission
of the Ministry of Culture, Museo Nazionale Romano) 86
xiii
xiv LIST OF FIGURES
xvii
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Author: O. Relander
Language: Finnish
Kirj.
O. Relander
"Ja äiti", jatkoi Olli. "Minne lie Yrjökin, isän vanha ystävä
kadonnut. Hänen puoleenhan isä neuvoi kääntymään. Liekö
vihollinen hänetkin surmannut, vaiko vangikseen vienyt!"
"Eipä taida muu auttaa kuin mierontielle lähteminen", sanoi Antti.
Mutta tuo ajatus pakotti Ollin taas itkuun purskahtamaan. Hän oli
veljeksistä nuorempi, äidin hellässä hoidossa kasvanut, äsken vielä
kodin päivänpaiste, kaikkien suosima. Hänkö nyt saisi lähteä
tuntematonta taivalta kulkemaan, maantietä kotinaan pitämään,
kalliota kartanonaan.
*****
"Mitäs rajalle kuuluu", sanoi Yrjö, sillä mies oli aivan valtakuntien
välisen rajan kohdalta.
"Mitä sinä poika parka teet", sanoi hän Antille, joka ihmeissään
katseli vanhan ystävänsä menettelyä, eikä ymmärtänyt, mikä hänelle
oli tullut. "Merkkitultako sinä rupeat viholliselle laittamaan, vai mitä
sinä? Etkö sinä kuullut, että vihollinen on tulossa tänne päin ja
näethän sinä tuolla heidän savunsa. Jos me nyt teemme suuren
loimottavan tulen, näkevät he, että tänne päin on pakolaisia kulkenut
ja lähtevät meidän jälkiämme seuraamaan".
"Se on kuin pois loihdittu," sanoi Olli, "aivan selvään minä sen näin
ja tuohon paikkaan se katosi. Kas Hermiä! — Joko sait? — Tuossa on
toinen. — Ahaa. — Katso Yrjö, kaksi riekkoa!" riemuitsi Olli. Hermin
avulla oli heillä piankin molemmat riekot hengettöminä käsissä.
Siinä näytti tie äkkiä kokonaan loppuvan. Oli kuin ranta edessä, ei
kuitenkaan järven, vaan pehmeän, puuttoman, aavan rimpisuon.
Alkumatkasta oli suolla toki kasvanut harvaa karahkamäntyä, mutta
umpisuolia ei ollut enää niitäkään, siellä täällä vain joku matala
pajukko. Omituisen kolkolta laaja suo näytti, ja vieläkin kolkommalta
se olisi tuntunut, elleivät viklat, kuovit ja muut kaalaajat olisi sitä
elävämmäksi tehneet.
"Tässäpä taisikin tie pystyyn nousta" sanoi Antti. "Ei tuo suo
ihmistä kannata, eikä tässä näy portaiden jälkiäkään. Ei ole tainnut
ihminen tästä koskaan kulkea."
"Mitä nyt tehdään", sanoi Olli, "venettä ei näy missään ja yli olisi
mentävä."
Mutta Antti oli lapsi vielä. Hän vain kuunteli, ei tutkinut. Luonnon
salaperäinen elämä hänet kiehtoi, huumasi ja uuvutti. Ja hän vaipui
keveään uneen aistimien koko ajan ottaessa vastaan ja toimiessa.
*****
Maja ja nuotio.