Julius Caesar's Self-Created Image and Its Dramatic Afterlife
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.
- Hardback | 256 pages
- 156 x 234 x 17.78mm | 502g
- 14 Dec 2017
- Bloomsbury Publishing PLC
- Bloomsbury Academic
- London, United Kingdom
Other books in this series
30 May 2013
07 May 2015
02 Jun 2016
15 Dec 2016
14 Dec 2017
18 Jun 2015
22 Sep 2016
About Miryana Dimitrova
Table of contents
Introduction: Caesar is Dead. Long Live Caesar!
1. 'I am he': Aspects of Caesar's Self-Representation in the Commentaries
2. Efficient Benevolence, the Shadow of Hubris and an Eastern Infatuation
3. 'For Always I am Caesar': Performative Actualization of Caesar's Self-Styled Image and Illeism as a Marker of Self-Institutionalization
4. Transhistorical and Quasi-Divine: Caesar Connecting the Threads of Time