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In the mid fourth century b.c. some Roman gentes drew on a Pythagorean tradition. In this tradition, Numa's role of Pythagoras’ disciple connected Rome (and the gentes) with Greek elites and culture. The Marcii, between 304 and 300 b.c., used Numa's figure, recently reshaped by the Aemilii and the Pinarii for their propaganda, to promote the need for a plebeian pontificate. After the approval of the Ogulnium plebiscite (300 b.c.), the needs for this kind of propaganda fell away. When Marcius Censorinus became censor, Numa's pontificate was no longer relevant for promoting the gens. For this reason, the Marcii used another genealogy for similar propagandistic effect: the figure of Marsyas, a symbol of plebeian ideals.

Die höchste Ehre, die ein römischer Bürger sich erhoffen konnte, war eine Porträtstatue auf dem Forum seiner Stadt. Während der Kaiser und hohe Senatsbeamte regelmäßig mit solchen Statuen geehrt wurden, war die Konkurrenz unter den Wohltätern der Städte um diese Ehrung groß: ging es doch um nicht weniger, als die Erinnerung an den geehrten Patron und seine Familie über Generationen hin öffentlich zu verkünden und zu verewigen. Zwar gab es viele Möglichkeiten, sich eine Porträtstatue zu verdienen; die lokalen Honoratioren mussten jedoch oft bis nach ihrem Tod warten, bevor ihre Hoffnung darauf von der Öffentlichkeit erfüllt wurde. Jane Fejfer weist zum ersten Mal nach, wie grundsätzlich unser Verständnis und unsere Wahrnehmung von römischen Porträtstatuen erweitert werden, wenn wir folgende Faktoren einer systematischen Analyse unterziehen: den historischen Kontext, die ursprüngliche Aufstellung, die Entsehungsbedingungen von Herstellung und Stil – und den Sockel, auf dem in vielen Fällen ein Text angebracht war, der die suggestive Wirkung des Bildes durch eine eigene Rhetorik ergänzte.

The years surrounding the decisive battle of Actium in 31 BC, and the various measures undertaken by the victor Augustus to create and legitimate a new system of government in Rome are among the most discussed aspects of Roman history. This book re-evaluates Augustus'rise to power, first as triumvir along with Antonius and Lepidus, and then as sole ruler, focusing particularly on the part played by propaganda and ideological claims. Augustus is shown to have acknowledged the Actium war as a civil as well as an external war, and the commemorations of the battle at the site and in Rome are re-assessed, along with the role ascribed to Apollo in the victory.The celebrated settlement of 28-27 BC is shown to have constituted the accomplishment of the triumviral assignment.

This companion provides an extensive account of the Roman army, exploring its role in Roman politics and society as well as the reasons for its effectiveness as a fighting force. - An extensive account of the Roman army, from its beginnings to its transformation in the later Roman Empire - Examines the army as a military machine – its recruitment, training, organization, tactics and weaponry - Explores the relationship of the army to Roman politics, economics and society more broadly - Considers the geography and climate of the lands in which the Romans fought - Each chapter is written by a leading expert in a particular subfield and takes account of the latest scholarly and archaeological research in that area

The essay presents five unpublished works (three heads and two fragments of torsos) preserved in the Magazzino Sculture of the Capitoline Museums, which formal quality and style allow them to be recognized as Greek originals of the classical age. For some we wanted to propose the original relevance to frontonal or acroterial statues, likely arrived in Rome as spoils of war and reused in the embellishment of the city and in the ambitious building programs of the senatorial aristocracy: a small further confirmation of what is widely reported in ancient sources and highlighted by other more relevant examples.

E probabile che Apollodoro di Damasco abbia progettato tutte le architetture celebrative delle vittorie di Traiano sui Daci. In particolare la Colonna commemorativa a Roma, nel cui fregio sono raffigurati il princeps e il suo architetto uno di fronte alPaltro e il monumentale Tropaeum ad Adamclisi, rappresentano due aspetti della stessa volontà imperiale di propaganda per immagini. Nei due diversi contesti sociali e territoriali di riferimento a cambiare non furono solo gli schemi figurativi, ma anche lo stile. Una calcolata strategia, adottata per tradurre messaggi visivi di diverso impatto, ё stata perpetuata dalle due opere in questione, mostrando come la scelta formale e stilistica fosse consapevolmente associata alla diversità di tono nella comunicazione imperiale.

Though often defined as having opposite aims, means, and effects, modernism and modern propaganda developed at the same time and influenced each other in surprising ways. The professional propagandist emerged as one kind of information specialist, the modernist writer as another. Britain was particularly important to this double history. By secretly hiring well-known writers and intellectuals to write for the government and by exploiting their control of new global information systems, the British in World War I invented a new template for the manipulation of information that remains with us to this day. Making a persuasive case for the importance of understanding modernism in the context of the history of modern propaganda, Modernism, Media, and Propaganda also helps explain the origins of today's highly propagandized world. Modernism, Media, and Propaganda integrates new archival research with fresh interpretations of British fiction and film to provide a comprehensive cultural history of the relationship between modernism and propaganda in Britain during the first half of the twentieth century. From works by Joseph Conrad to propaganda films by Alfred Hitchcock and Orson Welles, Mark Wollaeger traces the transition from literary to cinematic propaganda while offering compelling close readings of major fiction by Virginia Woolf, Ford Madox Ford, and James Joyce.

The beginning of filmmaking in the German colonies coincided with colonialism itself coming to a standstill. Scandals and economic stagnation in the colonies demanded a new and positive image of their value for Germany. By promoting business and establishing a new genre within the fast growing film industry, films of the colonies were welcomed by organizations such as the Deutsche Kolonialgesellschaft (German Colonial Society). The films triggered patriotic feelings but also addressed the audience as travelers, explorers, wildlife protectionists, and participants in unique cultural events. This book is the first in-depth analysis of colonial filmmaking in the Wilhelmine Era.

A 3D reconstruction of the principia at Novae (Bulgaria) allows modelling of the inscribed statues, altars and building stones as they used to look. By restoring the inscribed monuments to their original contexts, the model means that Roman military religiosity and its messages can be analysed in the legionary headquarters.

This study aims to explore the connection between religious and military spheres in Constantinian propaganda. The extensive use of propaganda and the notorious public discourse which involves the dynamics of power during Late Antiquity show how religion and the military played a key role. This principle reaches a singular meaning in the case of emperor Constantine I. To this extent, this paper considers several kinds of sources, which include legal, literary, and numismatic, among others. An analysis of the political uses of imperial constitutions by the emperor (especially CTh 7.20.2) can be of particular interest in order to address the ideas of self-representation and the politics of legitimation. Ultimately, the paper highlights the importance of imperial propaganda in Later Roman society, as well as the transformations in Constantine’s public discourse, where the connection between army and religion shows an evolution from the previous ways of understanding imperial power and where the bond of the ruler with a supreme divinity is a central issue.