Julio-Claudian Women

Tiberius relation with the women of the domus Augusta would give birth to a dynasty. The way in which they were portrayed in the dynastic propaganda and involved in the dynastic politics of Tiberius, would find its expression in the sources.
In this paper we will show ample proof that the women of the domus Augusta were given a prominent place in the dynastic imagery and that this was vital for the birth of the Julio-Claudian dynasty. In part I we will discuss the different available sources on the women of the domus Augusta, after which we will examine, in part II, the different aspects of the role they have played and/or were expected to play within the domus Augusta, that more and more coincide with the res publica.
We shall see that the sources were diverse and widespread, and that the women of the domus Augusta were often depicted in terms of good and bad. Subsequently we shall see that the role of the women of the domus Augusta, during the reign of Tiberius, stem from Tiberius' need for a social network. As a result of his stay on Rhodos, his network had collapsed and he had to rebuild it.

En couverture : Satyre et Ménade, fresque, tablinum i, paroi nord, maison de L. Caecilius Iucundus (V, 1, 23-26), Pompéi, 1-50 apr. J.-C., musée archéologique national de Naples. © Mimmo Jodice / Corbis Création graphique : Un chat au plafond

This dissertation argues that martial virtues and images of the soldier’s life represented an essential aspect of early Byzantine masculine ideology. It contends that in many of the visual and literary sources from the fourth to the seventh centuries CE, conceptualisations of the soldier’s life and the ideal manly life were often the same. By taking this stance, the dissertation challenges the view found in many recent studies on Late Roman masculinity that a Christian ideal of manliness based on extreme ascetic virtues and pacifism had superseded militarism and courage as the dominant component of hegemonic masculine ideology.

Modèles de vertu en apparence et pourtant manipulatrices, empoisonneuses et adultères, les Julio-Claudiennes ont une réputation sulfureuse. L’empereur Auguste fut contraint d’instrumentaliser les femmes de sa famille pour asseoir son pouvoir et sa dynastie. Mère, sœur, épouses, fille et petites-filles furent autant de pions au service de ses ambitions. Mais furent-elles victimes ou actrices de leur destin? -

See more at: http://www.grandpalais.fr/fr/evenement/femmes-fatales-imperatrice-et-princesses-au-temps-dauguste#sthash.cGqBHCuZ.dpuf

Este artículo nace con la intención de realizar una aproximación a las relaciones establecidas entre el emperador de la dinastía julio-claudia Nerón y las mujeres que le rodearon a lo largo de su vida, tanto antes de ser nombrado emperador, como, especialmente, una vez que detentó el máximo poder dentro del Imperio Romano. El interés de esta temática recae en el hecho que las fuentes escritas clásicas, en su relato de la vida y gobierno de Nerón, otorgan una gran importancia a su relación con las mujeres que la rodean, de tal modo que, incluso, buena parte de sus características personales, mentales e intelectuales vienen determinadas, en parte, por dichas relaciones con el género femenino. Por otro lado, la visualización y caracterización que se hace de estas mujeres por parte de autores como Suetonio, Tácito o Dión Casio, permite obtener ciertas informaciones e indicios acerca de las características de la forma de vida y la participación dentro de las esferas privada y pública de las mujeres de clase alta romana durante el Principado.

Ovaj rad bavi se životom i djelovanjem treće žene cara Klaudija, Valerije Mesaline, jedne od najfatalnijih žena staroga Rima. Autor objašnjava je li ona zaista bila tako pohotna i razvratna ili je ocrnjena zbog ideoloških i/ili ostalih razloga. Polazišna točka je njezin raniji život, pa brak sa Klaudijem, gdje se ukratko opisuje tko je bio Klaudije, zatim kakav je život vodila i zašto se u povijesti spominje kao okrutna i razvratna. Prikazat će se sve njezine navodne žrtve i razloge zbog kojih ih je dala pogubiti, posredno ili neposredno. Nakon njezinog pada, autor objašnjava jesu li antički izvori vjerodostojni u svojim tvrdnjama, pošto prema njoj gaje velike predrasude što se i vidi u opisima njezinog lika i djela. Nakraju se nalaze prikazi Mesaline u umjetnosti: slike, skulpture, kazališne predstave, filmovi, televizijske serije te književna djela.

Arctos welcomes submissions dealing with any aspect of classical antiquity, and the reception of ancient cultures in mediaeval times and beyond. Arctos presents research articles and short notes in the fields of Greek and Latin languages, literatures, ancient history, philosophy, religions, archaeology, art, and society. Each volume also contains reviews of recent books. The website is at www.

In Republican and imperial Rome, the house was seen as a locus of public life and a symbol of the status of its male residents. The influential position of elite women turned the houses that they owned, or the residential space with which they were associated the most, into appealing elements of literary discourse. Central to all the anecdotes discussed in this contribution is the idea that a woman who gathers people around her might, at some point, become a political force to be reckoned with. Modern scholarship has often characterized the Julio-Claudian period as a period of trial and error. The portrayals of
Julio-Claudian women illustrate this most clearly: whereas state-regulated media, such as imperial coins or senatorial decrees, show that these women were given a visible role in public life and were consequently considered as influential members of society, they were
never recognized as formal players in the struggle for power. Describing their residence and its visitors enabled ancient writers to point this out. The women whose domus frequentata is discussed in this contribution are: Verres’ mistress Chelidon, Clodia Metelli, Cornelia, Octavia, Livia, Agrippina the Elder, Messalina, and Agrippina the Younger.

http://eugesta.recherche.univ-lille3.fr/revue/eng/issues/issue-6-2016/

En este trabajo analizamos todas las "emperatrices" romanas que sin ser jefas de estado un determinado emperador les acuñó moneda a nombre de cada una de ellas (no del "princeps"). No existe otro momento en la historia en que haya ocurrido algo similar. Analizamos el porqué de cada una de ellas de aparecer en las monedas, los epígrafes de los anversos y las ideas de dinastías, en muchas ocasiones demostrando la moneda ideas fallidas, como la de Didio Severo Juliano cuando acuña monedas de su mujer y su hija.

En el presente artículo se repasa el papel que ejercieron las familiares femeninas en la vida de Germánico, candidato frustrado al trono imperial, desde su nacimiento hasta su muerte, así como las distintas actuaciones de aquellas en la domus y en la política del principado, según la visión ofrecida por la historiografía altoimperial.

This paper reviews the role of female relatives in the life of Germánicus, a frustrated candidate for the imperial throne, from birth to death, as well as his different actions from those in the domus and in imperial policy, according to the vision offered by altoimperial historiography.

The so-called Marlborough turquoise depicts a Venus-like wom-an and a male figure. The latter has been the subject of much debate. We can discern two main questions: "Does the figure represent a bust or a child?" and "Who is this male figure?"

In seguito alla sconfitta dei Cartaginesi, l'Hispania diventa provincia romana, laboratorio sperimentale dell'imperialismo romano fondato sul sistema delle province. Tra gli inizi del II sec. a.C. e l'ascesa di Augusto nascono molte città e si formano elites urbane sempre più sensibili alle suggestioni culturali e politiche che giungono da Roma. Non più sudditi ma cives romani. In questo scenario prendono a diffondersi i cicli statuari rappresentanti i membri della famiglia imperiale di Augusto, strumenti di diffusione delle istanze di governo del principe.

Tutti i diritti riservati. È vietata la riproduzione di testi e illustrazioni senza il permesso scritto dell'Editore. Tutte le relazioni pubblicate nel volume sono state sottoposte a procedura di doppia peer-review. Lo spazio del non-allineamento a Roma fra Tarda Repubblica e Primo Principato. Forme e figure dell'opposizione politica -Roma : «L'ERMA» di BRETSCHNEIDER, 2014. -264 p. ; 22 cm. -(Monografie / Centro ricerche e documentazione sull'antichità classica ; 36) ISBN 978-88-913-0657-9 (brossura)

Convertida en un símbolo de la maldad, la imagen de Livia Drusila ha sido difamada y manipulada desde la antigüedad por sus propios coetáneos. A pesar de la imagen peyorativa transmitida en torno a su figura, numerosos restos escultóricos han sobrevivido al tiempo y nos permiten hacernos una idea de la visión que el pueblo romano de la Baetica desarrolló en torno a esta gran dama. El advenimiento del principado necesitó de un aparato propagandístico responsable de expandir la ideología de la nueva era romana. En este proceso el poder de las imágenes adquirió un carácter masivo y sistemático al servicio de la familia imperial, y la primera emperatriz reforzó su imagen fusionada con la de su esposo y el resto de la familia imperial. Insertada en esta política ideológica, Livia Drusila vio su figura politizada y mediatizada de acuerdo a los intereses gubernamentales.

Convertida en un símbolo de la maldad, la imagen de Livia Drusila ha sido difamada y manipulada desde la antigüedad por sus propios coetáneos. A pesar de la imagen peyorativa transmitida en torno a su figura, numerosos restos escultóricos han sobrevivido al tiempo y nos permiten hacernos una idea de la visión que el pueblo romano de la Baetica desarrolló en torno a esta gran dama. El advenimiento del principado necesitó de un aparato propagandístico responsable de expandir la ideología de la nueva era romana. En este proceso el poder de las imágenes adquirió un carácter masivo y sistemático al servicio de la familia imperial, y la primera emperatriz reforzó su imagen fusionada con la de su esposo y el resto de la familia imperial. Insertada en esta política ideológica, Livia Drusila vio su figura politizada y mediatizada de acuerdo a los intereses gubernamentales.

The representation of early Imperial Roman women during the first century CE is well
documented by a number of ancient sources, and most of these agree that the women of the
Julio-Claudian family held far more political sway than any other women of the time. This
thesis will examine the power dynamic and level of influence from the early women of the
period in comparison to Julia the Younger and Agrippina the Elder. The portrayals of Julia the
Younger and Agrippina the Elder will be analysed from a historical perspective, by contrasting
the power and influence they held in comparison to that of Livia, Octavia, and Julia the Elder.
It can be argued that these later women were just as ambitious and managed to hold an
extraordinary amount of influence considering their position within society. These women
managed to take advantage of the turbulent times they were living in, and while it did not end
well for all of them, each of them influenced the politics of the time in their own ways.

The paper focuses on the Roman History of Cassius Dio in order to explore his perception of an evolution in the role of women in the late Republican Rome and Early Empire. Dio recorded the tendency of some prominent exponents of the political system of the late Seventies of the first century BC onwards to exploit women in the creation of political alliances, thus providing an image of them as passive players (though with some exceptions shown for instance by Fulvia and Cleopatra). As regards the Early Empire, he realized that some matrons (first of all Augustus’ wife, Livia) used their maternal role to reach an increasingly strong position, taking advantage of the political progress towards autocracy. Dio’s interest in the changing political position of women at the imperial court of the first century might have been influenced by his knowledge of the significant role of the women of the Severan dynasty, during which he was writing his Roman History.
- https://www.brepolsonline.net/doi/10.1484/J.GIF.5.118470 -

No sólo de Netflix vive el aficionado a las buenas series televisivas, y la exhumación de viejas colecciones de DVD puede deparar el grato reencuentro con lo que a esta altura merece llamarse un clásico: Yo, Claudio, magnífica producción de la BBC basada en los escritos que Robert Graves consagró a los hechos del Imperio Romano. Promediando la historia, irrumpe en escena un personaje maldito: Mesalina, esposa del emperador Claudio, famosa en vida (pero sobre todo después de muerta) por haber cedido a la desmesura en todo aquello en que la cordura aconseja medida: el apetito sexual, la ambición de bienes materiales, el ansia de poder y el ejercicio de los privilegios propios de su condición.

Abstract: This article presents part of the research we have done on the fame of two specific female characters of the early Roman imperial period: Agrippina Maior and Livia Drusila. Therefore, multiple presentations of these figures are discussed in the Tacitus and Suetonius narratives after the Julio-Claudian period under which these women lived. It is analyzed how the construction or reconstruction of the fame linked to the two characters converge, in the Annals and the Lives of the twelve Caesars, for a change in the ethical and moral conditions of these women. The change in their fame is caused by the death of their respective husbands. When they became widows, they both became narratives: the general pattern is that from virtuous wives, they are presented as ambitious mothers, driven by vice and power. In this sense, it is outlined, for these two cases, a passage from fame to infamy through beacons related to marriage and maternity.
Keywords: Exempla. Ethics. Julio-Claudian Women.

Resumo: Neste artigo, apresentamos parte da investigação que temos feito acerca da fama de duas específicas personagens femininas do início do período imperial romano: Agripina Maior e Lívia Drusila. Para tanto, discutimos múltiplas apresentações dessas figuras nas narrativas de Tácito e Suetônio, posteriores ao período Júlio-Cláudio sob o qual tais mulheres viveram. Analisamos como a construção ou reconstrução da fama ligadas às duas personagens convergem, nos Anais e nas Vidas dos doze césares, para uma alteração das condições ético-morais dessas mulheres. A alteração da fama de ambas é ocasionada pela morte de seus respectivos maridos. Ao tornarem-se viúvas, ambas se transformam nas narrativas: o padrão geral é que, de esposas virtuosas, elas passam a ser apresentadas como mães ambiciosas e movidas por vícios e poder. Neste sentido, delineamos, para estes dois casos, uma passagem da fama à infâmia por meio de balizas relacionadas ao matrimônio e maternidade.
Palavras-chave: Exempla. Ética. Mulheres Júlio-Claudianas.

""Più che in età repubblicana, fin dai primi tempi dell'età imperiale la città è la cellula fondamentale di un tessuto connettivo, tanto complesso quanto omogeneo. In Africa, come in Italia e nelle restanti province, l'organizzazione dello spazio urbano viene concepita tenendo conto delle esigenze della comunità civica e di quei fenomeni che ne caratterizzano l'ethos, primo tra tutti l'adesione all'ideologia imperiale che emana dal centro del potere. Effigies parvae simulacraque Romae saranno tutte le città dell'Impero, ispirate a Roma nella costruzione di un paesaggio ideologico trasfigurato da monumenti ed edifici, che definiscono lo spazio fisico. I cicli statuari dinastici giulio-claudii costituiscono la più riuscita sintesi di tutto questo.