Lovisa Brännstedt

Antiken har alltid varit en tacksam tidsperiod for filmmakare. Men hur har antiken skildrats i olika tider och medier? I Svard, sandaler och skandaler undersoker en rad skribenter fran olika amnen de uttryck antiken har tagit sig pa film och i tv. Boken ar den forsta i sitt slag pa svenska. I fem avdelningar behandlas relationen mellan den antika historien och dess sentida gestaltningar i rorliga bilder, alltifran filmens tidiga glansdagar kring ar 1900 till dagens tv-skildringar. Langt ifran alltid ar det historieskrivning eller litteratur om antiken som har bestamt hur epoken framstallts i visuella medier. Till exempel har scenografi och klader bidragit till att pragla forestallningar om vad som utmarkte antiken. Epoken har aven anvants i politiska och ideologiska syften. Exempelvis har Noa, Leonidas, Scipio Africanus och kung Arthur varit foremal for omtolkningar som syftat till att fylla dagspolitiska behov i fascismens Italien, efterkrigstidens USA eller det unga 2000-talets St...

Tankemonster ar en samling essaer forfattade till Eva Rystedts ara, nar hon lamnar posten som professor i antikens kultur och samhallsliv vid Lunds Universitet. De 31 bidragen spanner amnesmassigt over ett brett falt – fran renassansmaleri till antik skatteplanering, fran hamndbegar till tidsuppfattning – och anknyter tematiskt till tva omraden vilka gar som en rod trad genom Eva Rystedts egen forskning, ikonografi och mentalitetshistoria.

This article argues that the Roman poet Ovid in his Metamorphoses invented the apotheosis of Hersilia into the goddess Hora as a way to flatter the empress Livia. There are compelling parallels between the words used to describe Hersilia and Livia in Ovid’s poetry. Furthermore, Hersilia was, according to the legend, a Sabine woman who married Romulus, the founder of Rome. Livia was born into the Claudian family, famously Sabine through Attius Clausus. As such, it is appropriate of Ovid to compare Livia to Hersilia, as she was in some ways the Sabine wife of the new founder of Rome, Augustus.

In 66 CE, Marcia Servilia (PIR2 S 606) was summoned before the Senate to answer the accusation that she had paid magicians to conduct rites on her father’s behalf (Tac. Ann. 16.30–3; Dio Cass. 62.26.3; Marshall 1990, 363, case no. 24; Pollard 2014). Servilia and her father, who was accused of maiestas, made pleas before the Senate on each other’s behalf and in Tacitus’ narrative her illegal actions pale in comparison to those of the despotic Nero. Servilia is one of many Roman women whose actions brought her into the courtroom and before the Senate. In his foundational study of women on trial, Anthony Marshall (1990) counted 39 trials from the first century CE in which women were prosecuted. Despite this previous scholarship, the active participation of women in their role as defendants has frequently been left unexamined. In this paper, I explore the evidence for female defendants in legal proceedings with special emphasis on the spaces used for their trials. The paper challenges t...

This paper highlights and discusses the concept of the jubilee in Antiquity through a series of case studies. The ancient jubilee is defined as a temporally based, and often recurring, communal celebration, which encompasses longer time spans, from ten to a thousand years. The examples elaborated on by the present authors are: the Jewish Yovel, the Egyptian Heb-Sed and the Roman decennalia (Leander Touati); the Augustan secular games (Brännstedt); and the celebration of the founding of Rome (Gerding). With one noticeable exception, the Augustan secular games, the sources rarely give us a complete and detailed picture of the celebrations. Still a number of common characteristic traits can be outlined: utopian ideas, unification, ceremonial display, celebration of power and prosperity and the confirmation of social and political structures. Inledning Med den här texten vill vi närma oss orsaker till och idéer bakom jubileumsfi-rande i den förkristna Medelhavsvärlden. I vårt arbete med...

This article argues that the Roman poet Ovid in his Metamorphoses invented the apotheosis of Hersilia into the goddess Hora as a way to flatter the empress Livia. There are compelling parallels between the words used to describe Hersilia and Livia in Ovid’s poetry. Furthermore, Hersilia was, according to the legend, a Sabine woman who married Romulus, the founder of Rome. Livia was born into the Claudian family, famously Sabine through Attius Clausus. As such, it is appropriate of Ovid to compare Livia to Hersilia, as she was in some ways the Sabine wife of the new founder of Rome, Augustus.

This thesis is concerned with the foundations of Livia’s position in the Roman state. They are delineated by an investigation of important events of her life, the diverse privileges given to her, and the patterns that were established to enable subjects to express their loyalty to her and the imperial power. The study is based on a multifarious collection of material including literary texts, inscriptions, statues, coins, and gems. The material is organized, both theoretically and methodologically, according to the three principal roles Livia performed, viz. mater/uxor, patrona, and diva. The focus is on analysing how the content and enactment of these roles were transformed as a consequence of the development of the principate and Livia’s increasing status within it. The thesis has, therefore, a chronological structure and spans a hundred years, from Livia’s birth in 58 BCE up until her deification in 42 CE.
    The three roles provide the structure of this study and are discussed in one chapter each. In the concluding chapter they are placed side by side and a comprehensive view is taken of their chronological progression so as to present a thorough analysis of the stages in the formation of Livia’s position. A picture emerges of how female imperiality became a constituent part of the early principate, and how Livia was established as its princeps femina.