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Relevant bibliographies by topics / Wife of Mark Antony

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Academic literature on the topic 'Wife of Mark Antony'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Wife of Mark Antony"

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Hohlfelder, Robert L. "Images of Homage, Images of Power: King Herod and his Harbour, Sebastos." Antichthon 37 (November 2003): 13–31. http://dx.doi.org/10.1017/s0066477400001398.

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As the tumultuous Triumviral decades of the Republic ended and the Augustan era began, the shadow of Rome's majesty continued to envelop the shores of Judaea some 2000km to the east. King Herod had survived the struggle for dominance between Octavian (Augustus after 27 B.C.) and his rivals, Mark Antony and his ally and wife Cleopatra VII, in part by not being at Actium in 31 B.C. where the final battle in Rome's long series of civil wars was fought. Although his fealty had been to Antony, he had managed to be east of his kingdom's borders conducting a military operation against Malichus I of Nabataea, who had been accused of disloyalty by Cleopatra and Herod (Joseph. AJ 15.110).

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San Vicente González de Aspuru, Jose Ignacio. "Antonio-Dioniso versus Octaviano-Apolo: propaganda y contrapropaganda en torno a los ritos dionisíacos." ARYS: Antigüedad, Religiones y Sociedades, no. 13 (October 5, 2017): 77. http://dx.doi.org/10.20318/arys.2017.2698.

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Resumen: El artículo analiza, por un lado, la relación establecida entre Antonio y Dioniso y entre Octaviano y Apolo. Ambos triunviros buscaron reforzar su poder utilizando la religión. Se presta especial atención a la identificación de Marco Antonio como “Neo Dioniso” en la zona oriental, después de la batalla de Filipos. Se sostiene que una de las consecuencias de este acto propagandístico fue la vinculación de Octaviano con Apolo y la de Sexto Pompeyo con Neptuno.De manera paralela, se examinan las acusaciones que los escritores de ambos bandos elaboraron con fines propagandísticos y con el objetivo último de denigrar al líder oponente. La identificación de Antonio con Dioniso y el vino terminó por perjudicar la figura del derrotado triunviro, que ha pasado a la historia como un dipsómano.Abstract: The article analyzes, on the one hand, the relationship between Antony and Dionysus and, on the other hand, Octavian and Apollo. Both triumvirs sought to reinforce their power by using religion. Special attention to the identification of Antony as Neo Dionysus in the east after the battle of Philippi is given. It is argued that one consequence of this propaganda act was to link Apollo to Octavian and Sextus Pompey to Neptune.In parallel, the accusations that writers on both sides prepared for propaganda purposes, with the ultimate goal to denigrate the opponent leader are discussed. Antonio link whit Dionysus and the wine ended up hurting the figure of the defeated triumvir, which has transcended in history as a dipsomaniac.Palabras clave: Accio, Apolo, Cicerón, Cleopatra, Dioniso, Marco Antonio, OctavianoKey words: Actium, Apollo, Cicero, Cleopatra, Dionysos, Mark Antony, Octavian

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Ramsey, John T. "The senate, Mark Antony, and Caesar's legislative legacy." Classical Quarterly 44, no. 1 (May 1994): 130–45. http://dx.doi.org/10.1017/s0009838800017262.

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This paper seeks to dispel the notion that Mark Antony and the Senate indulged in a cat-and-mouse game over the control of Caesar's archives (his commentarii) in the weeks immediately following the Ides of March. At stake was whether unpublished documents drawn up by Caesar before his death should be ratified and put into force. The belief that the Senate and Antony contended over this issue and that Antony got the upper hand rests primarily on what I hope to show is a misinterpretation of two key passages in the Philippics. Moreover, since the standard interpretation of these two passages appears to be supported by Dio's account of how Antony cajoled the Senate into permitting him a freer hand to review and publish documents found in Caesar's archives, it will be necessary to have a closer look at Dio's probable sources for this particular section of his history.

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Łukaszewicz, Adam. "Mark Antony and the date of the Inimitables. A remark on an edited text." Journal of Juristic Papyrology, no. 50 (August 2, 2021): 223–32. http://dx.doi.org/10.36389/uw.jjurp.50.2020.pp.223-232.

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A Greek inscription on stone found in Alexandria in the nine- teenth century and exhibited in the Alexandrian Greco-Roman Museum contains an unusual dedicatory text in honour of Mark Antony. The text was edited several times. It contains useful information which agrees with the passage of Plutarch on the lifestyle of Antony and Cleopatra, and their entourage. In this paper the author suggests the date 34–30 bc for the activity of the ‘Inimitables’ and adds a further commentary on the history of Antony and Cleopatra.

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Harmer, J. "Mark Antony and The Nervii: Julius Caesar III.ii.168-71." Notes and Queries 57, no. 3 (June 29, 2010): 376–77. http://dx.doi.org/10.1093/notesj/gjq066.

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Mohamadi, Abolfazl. "Constructive Power and Discordant Discourses in Shakespeare’s Antony and Cleopatra." International Letters of Social and Humanistic Sciences 58 (September 2015): 18–24. http://dx.doi.org/10.18052/www.scipress.com/ilshs.58.18.

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The present paper aims to focus on how the circuit of different discourses in Alexandria and Rome contributes to the subject formation in Antony and Cleopatra. Identity, which acts as trap in this play, precipitates the characters from two different countries or contexts into a war through creating binarized categories with heterogeneous possibilities. Mark Antony – one of the Triumvirs of Rome in search for self-actualization strives against his country’s discourse in the beginning, he places himself in the warring discourses of Rome and Alexandria. When in Alexandria, he is inside the discourses of Rome, and when in Rome, he is inside the discourses of Alexandria. Like the nature of the signifier as it can happen and be determined by other contexts, Antony retains references to Rome when he is Alexandria, and establishes himself as a subject and makes his signification possible in this foreign country by relating himself to epicurean concepts other than his own former stoic attitudes. Thus, mark of the past element remains in him. Through discourse analysis, this study aims to analyze how the loop of self-hood is firmly tied by the signifiers, and how power, which is not solely negative and repressive, but positive and productive, shapes Antony’s capricious personality as he both challenges and is challenged by power. In the end it is revealed that Mark Anthony refashions his identity and perspective by admitting and embracing multiplicity between Rome’s stoicism and Alexandria’s Epicureanism.

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Cheetham, Dominic. "Rhetorical Flaws in Brutus’ Forum Speech in Julius Caesar: A Carefully Controlled Weakness?" Advances in Language and Literary Studies 8, no. 3 (June 30, 2017): 126. http://dx.doi.org/10.7575/aiac.alls.v.8n.3p.126.

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In Julius Caesar Shakespeare reproduces one of the pivotal moments in European history. Brutus and Mark Antony, through the medium of their forum speeches, compete for the support of the people of Rome. In the play, as in history, Mark Antony wins this contest of language. Critics are generally agreed that Antony has the better speech, but also that Brutus’ speech is still exceptionally good. Traditionally the question of how Antony’s speech is superior is argued by examining differences between the two speeches, however, this approach has not resulted in any critical consensus. This paper takes the opening lines of the speeches as the only point of direct convergence between the content and the rhetorical forms used by Brutus and Antony and argues that Brutus’ opening tricolon is structurally inferior to Marc Antony’s. Analysis of the following rhetorical schemes in Brutus’ speech reveals further structural weaknesses. Shakespeare gives Brutus a speech rich in perceptually salient rhetorical schemes but introduces small, less salient, structural weaknesses into those schemes. The tightly structured linguistic patterns which make up the majority of Brutus’ speech give an impression of great rhetorical skill. This skilful impression obscures the minor faults or weaknesses that quietly and subtly reduce the overall power of the speech. By identifying the weaknesses in Brutus’ forms we add an extra element to the discussion of these speeches and at the same time display how subtly and effectively Shakespeare uses rhetorical forms to control audience response and appreciation.

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Ramsey, John T. "Did Julius Caesar temporarily banish Mark Antony from his inner circle?" Classical Quarterly 54, no. 1 (May 2004): 161–73. http://dx.doi.org/10.1093/cq/54.1.161.

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Tatum, W. Jeffrey. "Cherchez la femme? Fadia in Plutarch's Life of Antony." Antichthon 54 (2020): 127–40. http://dx.doi.org/10.1017/ann.2020.1.

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AbstractIn his Philippics Cicero more than once refers to Fadia, whom he depicts as Antony's wife, and to the children she bore him. He also discusses Fadia in his correspondence with Atticus. Plutarch was aware of the Philippics and much of Cicero's correspondence, and therefore of Fadia, and yet, in his Life of Antony, he says nothing about her. This paper examines three possible explanations for the biographer's silence: (i) an informed sensibility regarding the historical value of invective; (ii) the narrative design of this Life and its contribution to Plutarch's characterisation of Antony; (iii) Plutarch's (disturbing by contemporary standards) disapproval of an aristocrat's siring children on women of the lower orders – even by way of legitimate marriage or concubinage. It is, it appears, the ensemble of these factors which excludes Fadia from Plutarch's biography, and the pertinence of each adds to our appreciation of Plutarch's biographical principles.

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Hansen, Elaine Tuttle. "The wife of Bath and the mark of Adam." Women's Studies 15, no. 4 (December 1988): 399–416. http://dx.doi.org/10.1080/00497878.1988.9978742.

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Dissertations / Theses on the topic "Wife of Mark Antony"

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Weir, Allison Jean. "A study of Fulvia." Thesis, Kingston, Ont. : [s.n.], 2007. http://hdl.handle.net/1974/966.

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Ackermann, Marc Antoni Verfasser], Wolfgang [Akademischer Betreuer] [Bleck, Ulrich [Akademischer Betreuer] Krupp, and Werner [Akademischer Betreuer] Theisen. "Bainitic TRIP steels for controlled cooled wire rod / Marc Antoni Ackermann ; Wolfgang Bleck, Ulrich Krupp, Werner Theisen." Aachen : Universitätsbibliothek der RWTH Aachen, 2020. http://d-nb.info/1227447507/34.

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Von, Hahn Brita Bettina. "The characterisation of Mark Antony." Diss., 2009. http://hdl.handle.net/10500/2656.

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This dissertation aims to focus on the way in which Marc Antony has been portrayed in Antiquity by a careful and critical study of what the ancient (mainly literary) sources have to reveal about this historical personage. A number of primary sources present a very negative view of Antony under the influence of various political persuasions, and this will be compared and contrasted with later ancient views. The study will pursue this under key themes such as the personality of Antony, his military and political career as well as the role that he played in the East. Modern scholarly interpretations of Antony’s character and actions will also be brought into the discussion, so that an objective evaluation of the contribution which Antony has made to the history of the Roman Republic, insofar as objectivity is possible, may be arrived at.
Language Services
M.A. (with specialisation in Ancient Languages and Cultures)

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Books on the topic "Wife of Mark Antony"

1

Mark Antony: A life. Stroud: Amberley, 2010.

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Mark Antony: A biography. London: Croom Helm, 1986.

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Mark Antony: A plain blunt man. Barnsley, South Yorkshire: Pen & Sword Military, 2013.

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Alan, Roberts. Mark Antony: His life and times. Upton-upon-Severn, Worcestershire: Malvern, 1988.

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Mark Antony: His life and times. Upton-upon-Severn: Malvern Publishing, 1988.

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Aurelius, Marcus. Wie soll man leben?: Anton Cechov liest Marc Aurel. Zürich: Diogenes, 1997.

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7

Elbert, Hubbard. Mark Antony. Kessinger Publishing, LLC, 2005.

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Mark Antony: A Life. Amberley Publishing, 2012.

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Mark Antony (Tempus History & Archaeology). Tempus Publishing, Limited, 1998.

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Ruggiero, Paolo De. Mark Antony: A Plain Blunt Man. Pen & Sword Books Limited, 2014.

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Book chapters on the topic "Wife of Mark Antony"

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Kelly, Rachael. "Virility and Licentiousness in Rome’s Mark Antony (2005–7)." In Screening Love and Sex in the Ancient World, 195–209. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137299604_15.

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Wray Beal, Lissa M. "Antony F. Campbell and Mark A. O’Brien, Rethinking the Pentateuch: Prolegomena to the Theology of Ancient Israel." In Perspectives on Hebrew Scriptures IV, edited by Ehud Ben Zvi, 464–66. Piscataway, NJ, USA: Gorgias Press, 2008. http://dx.doi.org/10.31826/9781463216238-042.

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West, Thomas J. "Turning Gold into Lead: Sexual Pathology and the De-mythologizing of Augustus in HBO’s Rome (2005–2007)." In Screening the Golden Ages of the Classical Tradition, 191–206. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0011.

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In the first of two chapters connecting the management of sexuality to the fortunes of Augustus, his dynasty, and the empire it governs, West focuses on HBO’s Rome (2005-7), a prestige cable series produced during the current golden age of television. He considers how Rome’s portrayal of Octavian’s psychosexual development, as he matures into Augustus, de-mythologizes the moral linchpin of Rome’s post-war “restoration” and thus interrogates this dominant icon of the “golden age of Rome.” The series juxtaposes Octavian to his viciously sexual mother Atia and his variably timid and rebellious sister Octavia, and also regards him as the protégé of two of the Republic’s leading men, Julius Caesar and Marc Antony. Yet even while establishing Augustus as the figure credited with containing the destructive, disruptive sexuality of his family and founding Rome’s new golden age, the series goes to great pains to look beneath the Augustan mask of male control and reveal a darker strain of barely tamed sexual desires, symbolized by his privately sadomasochistic relationship with his wife Livia. Beyond feeding viewers’ prurient appetites, the series acknowledges sexuality as a historical force in tandem with “civilizing” rationality; it can be repressed, but never eliminated.

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Beneker, Jeffrey. "Erōs and the Fall of Mark Antony." In The Passionate Statesman, 153–94. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199695904.003.0005.

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Harders, Ann-Cathrin. "Mark Antony and the women at his side *." In Power Couples in Antiquity, 116–35. Routledge, 2019. http://dx.doi.org/10.4324/9781351272445-7.

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Manning, Jane. "MARK-ANTHONY TURNAGE (b. 1960)Three Songs (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 220–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0068.

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This chapter describes British composer Mark-Anthony Turnage’s Three Songs (2000). This assured, agreeably compact cycle should prove a boon to baritones seeking a winning concert item by an established British composer. Phrase lengths are judged perfectly and the range and timbres of the baritone voice are heard with unfailing accuracy. Word-setting is impeccable and plentiful dynamics and nuances help to guide the interpretation. The first two poems celebrate cats (‘The Singing Cat’ and ‘Mourned’—a eulogy for a departed pet); and the last song reflects on the merits of animals in general (‘Last Words’). The score is presented with exemplary clarity, so that performers can assimilate it quickly. The ‘friendly postmodern’ idiom should not prove a barrier—piano parts are light and spare, so useful pitch-cues can be easily heard. The singer will need to be conscientious about tuning intervals. As the piece progresses, there are some wide leaps, but these are vocally gratifying. Although the work is not particularly taxing, it needs a crisp, neat delivery and a secure high range, as well as a lively presence and an instinct for characterization.

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Carbone, Lucia F. "MARK ANTONY AND THE BRONZE REVOLUTION IN THE EAST." In Coins of the Roman Revolution (49 BC - AD 14), 43–78. The Classical Press of Wales, 2020. http://dx.doi.org/10.2307/j.ctvd58sq1.6.

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Smith, Gary Scott. "The 1900s." In Mark Twain, 163–209. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894922.003.0007.

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During the final decade of his life, Twain received several devastating blows—the death of his beloved wife in 1904, the death of his daughter Jean in 1909, and his own declining health. These and other problems have led some scholars to portray him as a bitter, cynical, disillusioned codger who was hamstrung by his misfortunes and angry as his creative powers diminished and his health deteriorated. This, they say, led him to repudiate Christianity, adopt a deterministic worldview, and savagely rail against an implacable, depraved God, a hypocritical, heartless Christianity and the damned human race. Twain’s writings during his final decade allegedly displayed his relentless despair as he embraced social and spiritual nihilism. At the same time, his criticisms of various groups including missionaries, villains, especially Russian Czar Nicholas II and Belgian King Leopold II, and several ideologies—militarism, imperialism, anti-Semitism—became increasingly caustic.

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Smith, Gary Scott. "The 1860s." In Mark Twain, 33–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894922.003.0003.

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During the 1860s, Twain worked as a journalist in Virginia City, Nevada, and San Francisco and traveled to Europe and the Middle East (most notably Palestine) on an excursion with a group of Americans, which enabled him to write his best-selling Innocents Abroad. Twain met Olivia (Livy) Langdon through her brother, a fellow traveler. His courtship of the religiously devout Livy prompted Twain to reassess his relationship with God and his understanding of Christianity, prayer, and Providence and to declare himself to be a Christian. During this decade, Twain developed friendships with several ministers, battled depression, and struggled to determine his vocation. He also strove to adopt Eastern mores and conventional ethical practices and reinvent himself as a Christian husband who could provide financial security and spiritual guidance for his family. Scholars debate whether his conversion was genuine, self-deluded, or fabricated to please his future wife and her parents.

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Roe, John. "‘Character’ in Plutarch and Shakespeare: Brutus, Julius Caesar, and Mark Antony." In Shakespeare and the Classics, 171–87. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511483769.011.

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