Trajan vs Hadrien. Deux empereurs en miroir Partager l'article Trajan vs Hadrien. Deux empereurs en miroir Alban Gautier, Christine Hoët-Van Cauwenberghe dans mensuel daté juin - mots En , l'empereur Trajan mourait et Hadrien lui succédait à la tête de l'Empire romain. L'histoire en a fait des modèles opposés. Trajan, devenu empereur de Rome en janvier 98, peu après son adoption par Nerva, est mort à Sélinonte, petite ville de Cilicie, au sud de l'actuelle Turquie, dans la nuit du 8 au 9 août Quelques jours plus tard, son parent et ancien pupille Hadrien, que l'empereur défunt aurait, selon l'impératrice Plotine, adopté sur son lit de mort, était proclamé empereur par les troupes de Syrie ; le sénat confirma avec plus ou moins bonne grâce sa nomination.
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The year will see the nineteen-hundredth anniversary of the death of Emperor Trajan and the accession of his kinsman Hadrian. Ancient and modern cultural productions have often thought about those two emperors together. We will study the memories of both emperors over the centuries from to This means that the conference will convene literary scholars, historians, art historians, archaeologists and scholars of other disciplines: we will study all kinds of discourse on Trajan and Hadrian, be it scholarly historiography , artistic particularly literary or more generally cultural museums, exhibitions.
Papers may dwell on the memory of one emperor in particular, but we will retain first and foremost those which propose a crossed vision of their memories. Pourtant, bien des traits rapprochent ces deux personnages, et leur mémoire a pu garder trace de ces points communs.
Toutes les périodes sont ici concernées. Ici aussi, la pilosité peut être convoquée! Cette expression curieuse devra bien sûr être questionnée. Hadrien de son côté est-il effectivement quasi ignoré des auteurs chrétiens du Moyen Âge? La fortune théologique et littéraire de cet épisode est immense. Pour chacun de ces monuments, on pourra en particulier se pencher sur les dessins, tableaux et gravures qui les ont représentés au fil des siècles. Les représentations figurées des deux princes.
Trajan et Hadrien au cinéma, dans la bande dessinée et dans toutes les formes artistiques relevant de la culture populaire. Pour proposer une communication, vous pouvez envoyer à Alban Gautier alban. On that occasion, we will be organizing a conference which will study the contrasted memories of those two Roman emperors. At first sight, everything seems to oppose the ways Trajan and Hadrian were remembered. Still, many aspects may bring those two characters closer, and their memories could have kept some trace of those common traits.
Both descendants of Roman colonists settled in Baetica, they were the first Roman provincials to become emperors. They were kinsmen, and this is no anecdote: in , when succession came, the logic of kindred prevailed over the optimus princeps discourse.
Both received military training: this fact, that seems evident where Trajan is concerned, was also true of Hadrian, who served three militiae and participated in many campaigns. Those two memories, often thought together, were probably effective right from the first years of the reign of Hadrian, and they have been maintained down to the most recent productions, be they scholarly historiography , artistic particularly literary or more generally cultural museums, exhibitions.
What we want to study, then, is the memories of both emperors over the centuries from to This means that the conference will be firmly multidisciplinary: we hope to convene literary scholars, historians, art historians and archaeologists. The papers delivered at the conference may dwell on the memory of one emperor in particular, but we will retain first and foremost those which propose a crossed vision of their memories.
Main themes Among the topics, moments and phenomena which may be treated in papers, we will mention this is not a closed list : The posthumous fortune of the designation optimus, granted to Trajan, which may be contrasted with the rather poor reputation Hadrian suffered for a long time. The question of homosexuality and its non- treatment in the following centuries especially the twentieth century is of interest, because it concerns both princes and, with very different portrayals. Even their hair is interesting!
All periods are here concerned, and this question can also be drawn together with that of their appreciation of art: Antinous has to do with art, and Trajan was also interested in art, as his support to Apollodorus of Damascus shows.
In the vicinity of their relation to art, we may also consider their relation with humanism, Romanitas and Hellenism. Here also, hair may be called in! The succession of The fourth-century Historia Augusta, which contains the first biography of Hadrian that has been passed on to us, and begins precisely with the death of Trajan.
The appearance, in late Antiquity and the early Middle Ages, of a Christian memory of Trajan and, to a much lesser degree, of Hadrian, particularly in martyrial hagiography and the memory of persecutions. Maybe that was in contrast with his later namesake Trajan Decius, the persecutor par excellence. This curious phrase needs of course to be questioned. And is Hadrian as ignored as it seems by early and medieval Christian authors? And if so, why? The appearance and transformations of a second Christian memory of Trajan, very different from the first.
The theological and literary fortune of this motif is huge. The existence of a Jewish memory of both emperors, who both suppressed Jewish revolts. But it is mainly Hadrian who remained in the memory of Jewish communities: he seems to be one of the only Roman emperors to be mentioned by name in the Talmud. Both were military leaders, but one of them has been associated with wars of expansion, the other with pax Romana and the limes.
The question of their respective strategies in historiography is an interesting topic. Have their strategies always been contrasted, and when did that begin? Was this idea challenged? The memories of Trajan and Hadrian as builders, as it is reflected through monuments which remained visible during whole or part of the last nineteen centuries.
For example we may note that, for many centuries, the British wall was attributed to Septimius Severus: there was an eighteenth-century rediscovery of one forgotten memory of Hadrian, which only a short passage in the Historia Augusta had kept.
To those three monuments, we may add a fourth: the Pantheon, which symbolises both continuity and breach between the two: contemplated by Trajan, achieved by Hadrian, it was criticized by Apollodorus of Damascus.
For each of those monuments, it would be interesting to study the many drawings, paintings and engravings that represented them through centuries.
Figurative representations of the two rulers, in statues and paintings. The work of Marguerite Yourcenar. Trajan and Hadrian on screen, in comic books and in all popular forms of artistic expression. Curiously enough, despite of two reigns rich in events, our two emperors did not really inspire Hollywood. John Boorman has been working for many years on an adaptation of Memoirs of Hadrian, but the film has not been produced. Neither was European much concerned with those emperors: two scenes in the film by Xavier Beauvois, Souviens-toi que tu vas mourir, evoke the Pantheon, the Tivoli villa and the memory of Hadrian.
It could be interesting to study documentaries and films for television, which seem to have focused on Hadrian rather than on Trajan. Submission guidelines Papers will be delivered during the conference in Lille.
They will consist in presentations of about 30 minutes, including a time for discussion. To propose a paper, please send the following elements to Alban Gautier alban. Thank you for sending all propositions before 31 October
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