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In Gal 1:10, Rom 1:1, and Phil 1:1 Paul refers to himself as δοῦλος Χριστοῦ (Ἰησοῦ). This self-designation is open to interpretation. What is the function of this claim of roles, which is slightly varied syntagmatically in the three passages mentioned, i.e., tends to be linguistically flexible on Paul's part and thus adapted to the context in each case? The present contribution is intended to expand the interpretive framework with an aspect that has been rather neglected in previous Pauline research, when it invokes the interpretive context of Roman law. For it is Roman law that is of particular interest for the self-definition as a slave. In Roman legal discourse, which finds universal application through the ius gentium as the ‘law of all men' (Gaius 1.1), i.e. also application to non-Romans or the peregrinus, the scope of action for slaves in relation to their ‘masters' is also conceptually determined by taking into account the ‘human characteristic of the slave'. Within the interpretive framework of ancient Roman law, therefore, those lines of meaning in Pauline self-fashioning as δοῦλος Χριστοῦ Ἰησοῦ that reveal self-designation in subordination to Christ as enabling ambition, zeal, honour, and success are particularly revealing. These aspects include (1) the Pauline description of status and the legitimation and exposition of his (2) relationship to the “Lord”, the description of (3) his areas of work and responsibilities, and his (4) socio-economic living conditions and lifestyle. Thus, against the background of ancient Roman law, which primarily focused on its pragmatisation rather than problematising the socio-historical reality of slaves or the moral-philosophical attitude toward slavery, certain aspects of Paul's understanding of himself and his apostolate can be more sharply defined.

En la New York Public Library for the Performing Arts, dentro de la Music Division, encontramos el fondo denominado Guide to the Neighborhood Playhuse Scores, 1919-1931 and undated [signatura 04-4019]. En él, se conservan unos papeles manuscritos por el músico alemán Kurt Schindler que contienen una transcripción del famoso himno al apóstol Santiago «Dum Pater Familias», perteneciente al Codex Calixtinus. Ante estos materiales, este artículo persigue tres objetivos claros. Primero, presentar estas fuentes inéditas que complementan los estudios sobre la relación de Schindler con España. Segundo, especular sobre el propósito de las mismas y su relación con la Neighborhood Playhouse de las hermanas Lewisohn. Tercero, comparar el himno de Schindler con otras transcripciones disponibles en la época, en busca del posible modelo utilizado por el músico alemán.

To talk about domestic cults seems more appropriate than to talk about private cults, since most of the non-public religious acts take place around the domestic hearth, under the pater familias’ direction. However, the term domestic cults is too restrictive in so far as the citizen can participate in non-public worship acts outside his home. Indeed, let us not forget that individuals were always inserted in a set of social relations. Therefore, private cults include domestic cults as well as association cults, neighborhood cults such as the Lares compitales cult transformed by Augustus in Lares Augusti as part of the “imperial cult”. Throughout our period, private cults do not seem to change : what essentially changes is the expansion of the family pantheon to new deities and the introduction of the “imperial cult” at the level of domus and compitum.

Parler de cultes domestiques semble plus approprié que de parler de cultes privés puisque l’essentiel des actes religieux non publics s’effectuent autour du foyer domestique, sous la direction du pater familias. Cependant, le terme de cultes domestiques est trop restrictif dans la mesure où le citoyen peut participer à des actes cultuels non publics en dehors de chez lui. En effet, n’oublions pas que les individus étaient toujours insérés dans un ensemble de relations sociales. Par conséquent, les cultes privés englobent les cultes domestiques ainsi que les cultes des associations, des quartiers comme le culte des Lares compitales transformés par Auguste en Lares Augusti dans le cadre du “culte impérial”. Tout au long de notre période, les cultes privés ne semblent guère évoluer : ce qui change essentiellement, c’est l’élargissement du panthéon familial à de nouvelles divinités et l’introduction du “culte impérial” au niveau de la domus et du compitum.

The central thesis of this paper is that the term pere (father) in law is defined more by the legal roles of the father than by the biological facts. These legal roles and functions have changed during the centuries and have had a significant impact on understanding of the legal concept of a father. This paper aims to show the evolution of this concept through the most symbolic figures of a father in the law, from the roman figure of pater familias to the contemporary figure of a father as a one of the parents.

In Roman law, the notion of \"family\" did not have the meaning we attribute today, a form of human community, but had a meaning that denoted the totality of slaves that were owned by a person or the totality of people and goods that were under the same person's power head of fa mily. The head of the family was designated pater familias and exercised sole authority over all family members, but also over all their property. In the primitive conception, the family was made up of the wife of pater familias, the sons and daughters born of the marriage, the grandsons of the sons (not the grandsons of the daughters), but also the slaves and persons in mancipio, as well as all the goods possessed by the head of the family. Considering the fact that the family also had the meaning of assets owned by the head of the family, we specify that a child could also become pater familias, in which case the family was made up of the assets owned. Thus, within the Roman family, the pater familias was sui iuris, having full legal capacity, and all other persons under his power were alieni iuris, having limited legal capacity. Specific to the notion of parental power in Roman law is the fact that, as we will analyse in the present study, it was not exercised in the interest of the children, as prevails in modern law, but in the interest of the head of the family, which is why it did not end until his death, regardless of the age of the family son and his social position. Parental power named patria potestas was perpetual and unlimited.

This chapter contains sections titled: A Dead Poet The Matter of Romance The Explosion of History References Further Reading

Stories about brothers were central to Romans' public and poetic myth making, to their experience of family life, and to their ideas about intimacy among men. Through the analysis of literary and legal representations of brothers, Cynthia Bannon attempts to re-create the context and contradictions that shaped Roman ideas about brothers. She draws together expressions of brotherly love and rivalry around an idealized notion of fraternity: fraternalpietas--the traditional Roman virtue that combined affection and duty in kinship. Romans believed that the relationship between brothers was especially close since their natural kinship made them nearly alter egos. Because of this special status, the fraternal relationship became a model for Romans of relationships between friends, lovers, and soldiers. The fraternal relationship first took shape at home, where inheritance laws and practices fostered cooperation among brothers in managing family property and caring for relatives. Appeals to fraternalpietasin political rhetoric drew a large audience in the forum, because brothers' devotion symbolized themos maiorum, the traditional morality that grounded Roman politics and celebrated brothers fighting together on the battlefield. Fraternalpietasand fratricide became powerful metaphors for Romans as they grappled with the experience of recurrent civil war in the late Republic and with the changes brought by empire. Mythological figures like Romulus and Remus epitomized the fraternal symbolism that pervaded Roman society and culture. InThe Brothers of Romulus, Bannon combines literary criticism with historical legal analysis for a better understanding of Roman conceptions of brotherhood.