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Roman imperial biographies
Synopsis
From a pre-eminent biographer in the field, this well-documented and illustrated biography examines the life and time of the emperor Vespasian and challenges the validity of his perennial good reputation and universally acknowledged achievements.
Examining received opinions on Vespasian, Barbara Levick examines how this plebeian and uncharismatic Emperor restored peace and confidence to Rome and ensured a smooth succession.
Outlining how he gained military experience and political skills, Levick goes on to explore how Vespasian coped with the military, political and economic problems of his reign, and his evaluation of the solutions to these problems, before she finally examines his posthumous reputation.
Part of the bestselling Roman Imperial Biographies series, Vespasian will engage, enthral and inform both students of classical studies and history, and the general classical enthusiast alike.
"synopsis" may bel • Preview This is a biography for those who prefer their biographies to be more about the times than the man. Levick’s Vespasian is a political history of mid-first century AD structured around the figure of Vespasian. Within these parameters, Levick’s book remains an important and useful contribution to schola • The Arab Fund for Arts and Culture – AFAC organizes, in collaboration with the Haus der Kulturen der Welt (HKW) and in partnership with Europe in the Middle East - The Middle East in Europe (EUME), a forum entitled “Politics Through the Looking Glass”, at the HKW in Berlin from October 4 to 6, 2019. The recent years have witnessed a proliferation of first-person writing and film, where the author’s personal experience is the fount of narrative and representation, and where the “I” merges with the voice of collective consciousness. These works are not only the typical first autobiographical foray in film and writing, rather they also include seasoned and established artists. This ‘inward’ turn toward the personal reimagines the relationship between the real and the fictional, but also brings forward several questions about the present moment of turbulent changes in the Arab world. Do they incarnate a distancing from the “political”, or on the contrary, its reconfiguration in the aftermath of deceptions and defeats? Has the personal lived experience become the only source for forging new meaning in the collapse of patriarchy? What is the relationship of first-person works with identity politics? Has the gendered and queer “I” become a political and artistic