Julius Caesar S Bellum Civile And The Composition Of A New Reality

In his Commentarii de Bello Civili Julius Caesar sought to re-invent his image and appear before his present and future readers in a way which he could control and at times manipulate. Offering a new interpretation of the Bellum Civile this book reveals the intricate literary world that Caesar creates using sophisticated techniques such as a studied choice of vocabulary, rearrangement of events, use of indirect speech, and more. Each of the three books of the work is examined independently to set out the gradual transformation of Caesar's literary persona, in step with his ascent in the 'real' world. By analysing the work from Caesar's viewpoint the author argues that by adroit presentation and manipulation of historical circumstances Caesar creates in his narrative a different reality, one in which his conduct is justified. The question of the res publica is also a key point of the volume, as it is in the Bellum Civile, and the author argues that Caesar purposely does not present himself as a Republican, contrary to commonly held views. Employing detailed philological analyses of Caesar's three books on the Civil War, this work significantly advances our understanding of Caesar as author and politician.

The book explores the extent to which aspects of Julius Caesar's self-representation in his commentaries, constituent themes and characterization have been appropriated or contested across the English dramatic canon from the late 1500s until the end of the 19th century. Caesar, in his own words, constructs his image as a supreme commander characterised by exceptional celerity and mercifulness; he is also defined by the heightened sense of self-dramatization achieved by the self-referential use of the third person and emerges as a quasi-divine hero inhabiting a literary-historical reality. Channelled through Lucan's epic Bellum Civile and ancient historiography, these Caesarean qualities reach drama and take the shape of ambivalent hubris, political role-playing, self-institutionalization, and an exceptional relationship with temporality. Focusing on major dramatic texts with rich performance history, such as Shakespeare's Julius Caesar, Handel's opera Giulio Cesare in Egitto and Bernard Shaw's Caesar and Cleopatra but also a number of lesser known early modern plays, the book encompasses different levels of drama's active engagement with the process of reception of Caesar's iconic and controversial personality.

The First World War did not end in Central Europe in November 1918. The armistices marked the creation of the Second Polish Republic and the first shot of the Central European Civil War which raged from 1918 to 1921. The fallen German, Russian, and Austrian Empires left in their wake lands with peoples of mixed nationalities and ethnicities. These lands soon became battle grounds and the ethno-political violence that ensued forced those living within them to decide on their national identity. Civil War in Central Europe seeks to challenge previous notions that such conflicts which occurred between the First and Second World Wars were isolated incidents and argues that they should be considered as part of a European war; a war which transformed Poland into a nation.

Reinterprets Julius Caesar not as an autocrat seeking to overthrow the Roman Republic, but as an unusually successful political leader.

Despite defeating his opponent Pompeius Magnus at Pharsalus, and the latter’s subsequent murder, Caesar still faced a determined opposition in the Civil War that had engulfed the late Roman Republic. Having become entangled in the intrigues and wars of the East, Caesar gave his opponents time to regroup under the lead of Metellus Scipio and Cato the Younger, scions of two of the Republic’s greatest families. Under their leadership Caesar’s dominance of the Republic was seriously challenged, culminating in a decisive battle at Thapsus in what is now Tunisia. Gareth Sampson describes the campaigns that set the context for the battle, including the role played by the various regional powers drawn into the Roman Civil War. He then recounts the battle itself in detail, analysing the relative strengths of the armies involved, their organization, equipment and tactics. He assesses the opposing commanders and the strategies on the day which led to another victory for Caesar. He concludes with a discussion of the bloody aftermath of the battle and the myths that developed around the deaths of Caesar’s opponents.

The Modern Hercules explores the reception of the ancient Greek hero Herakles – the Roman Hercules – in western culture from the nineteenth century to the present day, exploring the hero’s transformations of identity and significance in a wide range of media.

This volume offers an instructive comparative perspective on the Judaic, Christian, Greek and Roman myths about the creation of humans in relation to each other, as well as a broad overview of their enduring relevance in the modern Western world and its conceptions of gender and identity. Taking the idea that the way in which a society regards humanity, and especially the roots of humanity, is crucial to an understanding of that society, it presents the different models for the creation and nature of mankind, and their changing receptions over a range of periods and places. It thereby demonstrates that the myths reflect fundamental continuities, evolutions and developments across cultures and societies: in no context are these more apparent than with regard to gender. Chapters explore the role of gender in Graeco-Roman and Judaeo-Christian creation myths and their reception traditions, demonstrating how perceptions of 'male' and 'female' dating back to antiquity have become embedded in, and significantly influenced, subsequent perceptions of gender roles. Focusing on the figures of Prometheus, Pandora, Adam and Eve and their instantiations in a broad range of narratives and media from antiquity to the present day, they examine how variations on these myths reflect the concerns of the societies producing them and the malleability of the stories as they are recast to fit different contexts and different audiences.

In 49 BC the Roman Republic collapsed once more into bloody civil war. At the heart of this war lay the two greatest living Roman commanders, and former allies, Pompey the Great and Julius Caesar, each having built their own factions within the Roman oligarchy and refusing to compromise. The subsequent civil war would be fought for control of the Republic with each man determined to restore peace and stability to Rome, under their leadership. Yet despite this clash it was eighteen months before the two men met in Battle at Dyrrhachium in Albania. Gareth Sampson outlines the strategic background, describing the early campaigns of the civil war and the factions of Caesar and Pompey that fought for control of the vast resources of the Republic. The Battle of Dyrrhachium itself is analysed to determine the strengths and weakness of both armies and their various commanders as well as the tactics used in the phases of the battle which culminated in victory for Pompey. Focus is also given to the aftermath of the battle that saw Caesar defeated and Pompey in the ascendancy.