Dirty Linen, Fabrication, and the Authorities of Livy and Augustus

Sailor, Dylan

doi:10.1353/apa.2006.0016

Cited by 34 publications

(3 citation statements)

References 79 publications

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“…Yet in preserving the textual tradition and the controversy itself, Livy reasserts and models the power of text to contest a Caesar's revision of history. For an excellent discussion with ample bibliography, see Sailor (2006). etymologist a way to uncover the ever less visible history of his rapidly changing city.…”

Section: De Lingua Latinamentioning

confidence: 99%

REWRITING ROME: TOPOGRAPHY, ETYMOLOGY AND HISTORY IN VARRODE LINGVA LATINA5 AND PROPERTIUSELEGIES4

MacDonald

2016

Ramus

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sunt…ista, Varro; nam nos in nostra urbe peregrinantis errantisque tamquam hospites tui libri quasi domum reduxerunt, ut possemus aliquando qui et ubi essemus agnoscere.(Cic. Acad. 1.3.9)What you say is true, Varro; for we were wandering and straying about, like foreigners in our own city, and your books, as it were, led us back home, so that we could see at last who and where we were. With its memorable image of the Antiquitates guiding home a Roman populace estranged from Rome, Cicero's compliment to Varro epitomises the Roman tendency to intertwine historical knowledge and the urban landscape. In the profusion of scholarship on Roman topography and memory, this tendency has become something of a topos in its own right. In her seminal monograph Writing Rome, for example, Catharine Edwards proposes that, ‘topography, for Romans, perhaps played a greater role than chronology for making sense of the past…places became vehicles for a kind of non-sequential history’. Straying about like foreigners in their own city, however, Cicero's lost Romans remind us that the city's history was not immanent in its hills and valleys, monuments and marketplaces. On the contrary, like any other, Rome's mnemonic topography was a work in process, constituted in ‘the persistent return to history, the systematic unearthing of ruins, the conscientious recovery of traditions, and…the reactivation of an inherited past’.

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Section: De Lingua Latinamentioning

confidence: 99%

REWRITING ROME: TOPOGRAPHY, ETYMOLOGY AND HISTORY IN VARRODE LINGVA LATINA5 AND PROPERTIUSELEGIES4

MacDonald

2016

Ramus

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“…For the problems involved with the spolia opima episode, cf. most recently Saylor, 2006. Burton, 2000 attention to another passage which may be a reference to a contemporary event (1.56.2).…”

Section: Kleijwegt 324mentioning

confidence: 99%

Creating new citizens: freed slaves, the state and citizenship in early Rome and under Augustus

Kleijwegt

2009

European Review of History: Revue europeenne d'histoire

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“…More generally, on Augustan control of Roman memory, see Gowing (2005) 18-27. Control of memory implies of course control of the art of forgetting, on which, see Flower (2006 Sailor (2006). In this chapter we will concentrate on the poets, but it is noteworthy that recent scholarship on Livy has made much of his imagery of monumentality and revealed the ways in which the writing of his history amounts on one level to a monumental rebuilding of Rome in a manner that is in dialogue with the Augustan discourse; see e.g.…”

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Furor epigraphicus: Augustus, the Poets, and the Inscriptions

Nelis‐Clément¹,

Nelis²

2013

Inscriptions and Their Uses in Greek and Latin Literature

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In an insightful exploration of the processes of periodization that underpin our conception of what makes the Augustan age, Barchiesi has written: 'I would say that the crucial factor for modern scholars has been the possibility of making multiple connections between political change, material culture, ideology, literature and the visual arts.' 1 One important feature among the Augustan visual arts was the appearance throughout the Roman world of thousands of inscriptions marking or celebrating, in one way or another, the arrival of a new age. 2 Even a cursory survey of the corpus of the major Augustan poets, Vergil, Horace, Propertius, Tibullus, and Ovid, reveals the presence of numerous and varied points of contact between their works and this new world of Roman epigraphy. Readers of these texts encounter direct quotations of inscriptions and passing references to the presence of inscriptions. They also encounter descriptions of monuments which carried inscriptions, and the use of various different epigraphical genres, particularly sepulchral epigram and epitaphs, and they meet inscribed spoils, altars, shields, and much else. They also find in these texts subject matter and forms of expression which Romans would have met most frequently inscribed in stone and bronze. One scholar, for example, has gone so far as to describe the whole of the fourth book of Horace's Odes as 'epigraphic poetry'. 3 We can even read a complete work, Ovid's Fasti, which is a poetic version of a genre that Roman readers would automatically have understood as fundamentally We would like to thank audiences in Manchester, Princeton, Charlottesville, Geneva, and Bordeaux for their questions and suggestions. A special word of thanks to A

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Dirty Linen, Fabrication, and the Authorities of Livy and Augustus

Cited by 34 publications

References 79 publications

REWRITING ROME: TOPOGRAPHY, ETYMOLOGY AND HISTORY IN VARRODE LINGVA LATINA5 AND PROPERTIUSELEGIES4

REWRITING ROME: TOPOGRAPHY, ETYMOLOGY AND HISTORY IN VARRODE LINGVA LATINA5 AND PROPERTIUSELEGIES4

Creating new citizens: freed slaves, the state and citizenship in early Rome and under Augustus

Furor epigraphicus: Augustus, the Poets, and the Inscriptions

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