Damnatio memoriae Martínez Pons, José Antonio
Vivat academia (Alcalá de Henares),
01/2006
71
Journal Article
Recenzirano
Odprti dostop
Damnatio Memoriae es una locución latina que significa literalmente condena de la memoria. Era una práctica de la antigua Roma consistente en, como su propio nombre indica, condenar el recuerdo de un ...enemigo del Estado tras su muerte. Se aplicaba para eliminar del mapa a algún personaje incómodo y todo cuanto recordara al condenado: imágenes, monumentos, inscripciones, e incluso se llegaba a la prohibición de usar su nombre. Muchos emperadores también se vieron afectados por esta práctica. Algo así ha ocurrido en España con la época franquista.
Business organizations and elites are often neglected in oral history as a result of the dominant assumption that elites have ample opportunity to be heard. We argue, however, that researching ...corporations and elites is very interesting for oral historians. This contention is supported by the four contributions that legitimize the use of oral history as formulated by Richard Crownshaw and Selma Leydesdorff. First, oral history research on organizations and elites is important for archival reasons as it helps to record information that would otherwise be lost. Second, we argue that the use of oral history for research on leadership and organizations is scientifically sound. Third, the democratic contributions of oral history provide misrepresented employees and leaders of organizations with a voice. This improves current narratives on corporate and elite history. Leaders in particular are vulnerable to not being treated democratically. They have the greatest chance of being written out of the history of an organization and as such "losing" a part of their life story. This so-called damnatio memoriae can be experienced as a traumatic event. The fourth contribution of oral history, its therapeutic usefulness, can be very beneficial in such a case.
In the early 1100s, the fifth-century church of S. Clemente in Rome was buried beneath an entirely new basilica. Inspired by suggestions published by Tommaso di Carpegna Falconieri (1998) and ...Valentino Pace (2007), the present article considers the possibility that this radical intervention constituted an act of damnatio memoriae or, better, of deletio memoriae , an obliteration of memory prompted by the nascent cult of miracles associated with Pope Paschal II’s enemy and rival, (anti)pope Clement III. Clement III (Wibert of Ravenna) died in 1100, not long after the execution of an extensive fresco cycle in the early Christian basilica celebrating the miracles and cult of the first-century pope and martyr St. Clement I of Rome. Resonances between these images and the prodigia attributed to Clement III may have invited analogies between the two Clements, especially during the turbulent early years of Paschal II’s pontificate, when Paschal, alarmed by reports of his adversary’s miracles, had Clement III’s corpse exhumed and thrown into the Tiber.
The perceived correspondences between the first-century pope and his eleventh-century namesake may have extended to their postmortem resting places – Clement I was martyred by being thrown into the Black Sea – as well as to their shared attributes, particularly the pontifical vestments and white hair prominently displayed in the frescoes. These attributes disappear in the early twelfth-century mosaic of Clement I on the apsidal arch of the new, upper church, where the saint is instead represented as a young man with dark hair, a dark beard, and an apostle’s clothing. This extreme makeover in a work securely associable with Roman reform-party sponsorship effectively dissociated Clement I from the painted images in the earlier church and, very probably, from his eleventh-century namesake in the Tiber.
Agli inizi del secolo XI, la chiesa di S. Clemente in Roma, risalente al secolo V, venne “seppellita” in una basilica completamente nuova. Inspirato dagli interventi di Tommaso di Carpegna Falconieri (1998) e di Valentino Pace (2007), questo articolo considera la possibilità che tale radicale intervento abbia costituito un atto di damnatio memoriae o, meglio, di deletio memoriae , una obliterazione della memoria indotta dal nascente culto dei miracoli associato con il nemico e rivale di papa Pasquale II, l’(anti)papa Clemente III. Clemente III (Guiberto di Ravenna) morì nel 1100, non molto dopo l’esecuzione di un ampio ciclo di affreschi nella più antica basilica che celebrava i miracoli e il culto del papa del I secolo e martire san Clemente in Roma. I richiami tra queste immagini e i prodigia attribuiti a Clemente III possono aver favorito analogie tra i due Clementi, specialmente durante i turbolenti primi anni del pontificato di Pasquale II, quando costui, messo in allarme da quanto gli veniva riferito riguardo i miracoli dei suoi avversari, aveva fatto esumare il cadavere di Clemente III e lo aveva fatto gettare nel Tevere.
Le corrispondenze che si percepiscono tra il papa del I secolo e il suo omonimo dell’XI possono essersi estese alle loro sepolture – Clemente I fu gettato nel Mar Nero e così martirizzato – così come i loro attributi condivisi, in particolare le vesti pontificali e i capelli bianchi messi in grande evidenza negli affreschi. Questi attributi scompaiono nel mosaico di Clemente I del primo secolo XII nell’arco absidale della nuova chiesa superiore, dove il santo è invece rappresentato come un giovane uomo con i capelli neri, una barba scura e una veste da apostolo. Tale trasformazione totale in un’opera sicuramente associabile con il sostegno al partito della riforma effettivamente dissociò Clemente I dalle immagini dipinte nella chiesa più antica e, molto probabilmente, dal suo omonimo del secolo XI finito nel Tevere.
Agli inizi del secolo XI, la chiesa di S. Clemente in Roma, risalente al secolo V, venne “seppellita” in una basilica completamente nuova. Inspirato dagli interventi di Tommaso di Carpegna Falconieri ...(1998) e di Valentino Pace (2007), questo articolo considera la possibilità che tale radicale intervento abbia costituito un atto di damnatio memoriae o, meglio, di deletio memoriae, una obliterazione della memoria indotta dal nascente culto dei miracoli associato con il nemico e rivale di papa Pasquale II, l’(anti)papa Clemente III. Clemente III (Guiberto di Ravenna) morì nel 1100, non molto dopo l’esecuzione di un ampio ciclo di affreschi nella più antica basilica che celebrava i miracoli e il culto del papa del I secolo e martire san Clemente in Roma. I richiami tra queste immagini e i prodigia attribuiti a Clemente III possono aver favorito analogie tra i due Clementi, specialmente durante i turbolenti primi anni del pontificato di Pasquale II, quando costui, messo in allarme da quanto gli veniva riferito riguardo i miracoli dei suoi avversari, aveva fatto esumare il cadavere di Clemente III e lo aveva fatto gettare nel Tevere. Le corrispondenze che si percepiscono tra il papa del I secolo e il suo omonimo dell’XI possono essersi estese alle loro sepolture – Clemente I fu gettato nel Mar Nero e così martirizzato – così come i loro attributi condivisi, in particolare le vesti pontificali e i capelli bianchi messi in grande evidenza negli affreschi. Questi attributi scompaiono nel mosaico di Clemente I del primo secolo XII nell’arco absidale della nuova chiesa superiore, dove il santo è invece rappresentato come un giovane uomo con i capelli neri, una barba scura e una veste da apostolo. Tale trasformazione totale in un’opera sicuramente associabile con il sostegno al partito della riforma effettivamente dissociò Clemente I dalle immagini dipinte nella chiesa più antica e, molto probabilmente, dal suo omonimo del secolo XI finito nel Tevere.
The fact that numerous leges antiquae in the Liber are anonymous can surely be ascribed to a damnatio memoriae passed on the Arian monarchs by the compilers. The first compilation of the Liber, in ...654, was done in a context of opposition by Recceswinth to his father, recently deceased. However, the code was retroactive and authorised the annulment of acts dating back to Chindaswinth; this was tantamount to a rescissio actorum, which would also ensue from a damnatio memoriae. Besides its practical purpose, the Liber thus has an ideological dimension, defining as it does good kings and bad kings. Whether or not Recceswinth wished it to be the sole source of law produced by the courts, the Liber is in fact neither exhaustive nor entirely uniform, for many laws are clearly the products of case law. Failure to consider the lacunae in the Liber has led to the erroneous conclusion that Ervige repealed the military law of Wamba (LV IX, 2, 8), whereas in fact both their laws, as set out in the code, were valid at the same time.
In the early 1100s, the fifth-century church of S. Clemente in Rome was buried beneath an entirely new basilica. Inspired by suggestions published by Tommaso di Carpegna Falconieri (1998) and ...Valentino Pace (2007), the present article considers the possibility that this radical intervention constituted an act of damnatio memoriae or, better, of deletio memoriae, an obliteration of memory prompted by the nascent cult of miracles associated with Pope Paschal II’s enemy and rival, (anti)pope Clement III. Clement III (Wibert of Ravenna) died in 1100, not long after the execution of an extensive fresco cycle in the early Christian basilica celebrating the miracles and cult of the first-century pope and martyr St. Clement I of Rome. Resonances between these images and the prodigia attributed to Clement III may have invited analogies between the two Clements, especially during the turbulent early years of Paschal II’s pontificate, when Paschal, alarmed by reports of his adversary’s miracles, had Clement III’s corpse exhumed and thrown into the Tiber. The perceived correspondences between the first-century pope and his eleventh-century namesake may have extended to their postmortem resting places – Clement I was martyred by being thrown into the Black Sea – as well as to their shared attributes, particularly the pontifical vestments and white hair prominently displayed in the frescoes. These attributes disappear in the early twelfth-century mosaic of Clement I on the apsidal arch of the new, upper church, where the saint is instead represented as a young man with dark hair, a dark beard, and an apostle’s clothing. This extreme makeover in a work securely associable with Roman reform-party sponsorship effectively dissociated Clement I from the painted images in the earlier church and, very probably, from his eleventh-century namesake in the Tiber.
Damnatio memoriae Martínez Pons, José Antonio
Vivat academia (Alcalá de Henares),
12/2005
71
Journal Article
Recenzirano
Odprti dostop
Damnatio Memoriae is a Latin phrase that literally means conviction of memory. It was a practice of ancient Rome consisting of, as its name suggests, to condemn the memory of an enemy of the state ...after his death. Applied to remove a character map to uncomfortable and reminded all that the condemned images, monuments, inscriptions, and even came to the ban on his name. Many emperors were also affected by this practice. Something has happened in Spain with the Franco era.
Damnatio Memoriae es una locución latina que significa literalmente condena de la memoria. Era una práctica de la antigua Roma consistente en, como su propio nombre indica, condenar el recuerdo de un enemigo del Estado tras su muerte. Se aplicaba para eliminar del mapa a algún personaje incómodo y todo cuanto recordara al condenado: imágenes, monumentos, inscripciones, e incluso se llegaba a la prohibición de usar su nombre. Muchos emperadores también se vieron afectados por esta práctica. Algo así ha ocurrido en España con la época franquista.
Javier Andreu Pintado, Un capítulo de los gastos en construcción pública en época de Domiciano en las prouinciae. La iniciativa imperial, DHA 34/2, 2008, 115-143.
Resumen : El presente artículo ...supone una primera aproximación a la actividad edilicia asumida por la iniciativa imperial en época de Domiciano en las prouinciae, asunto que estaba pendiente de revisión global en la investigación historiográfica sobre este emperador. Se procede a realizar un capítulo de los gastos documentados a partir de la documentación epigráfica, se trazan los parámetras cronológicos y geográficos en que se movió la actividad edilicia provincial del último de los Flavios y, como colofón, se estudia el grado de incidencia dc la damnatio memoriae decretada contra la imagen pública de este emperador en las inscripciones que constituyen el repertorio de referencia.
Javier Andreu Pintado, Un chapitre des dépenses de construction publique dans les prouinciae à l'époque de Domitien. L'initiative impériale, DHA 34/2, 2008, 115-143.
Résumé : Cet article constitue la première ébauche d'une étude portant sur les activités édilitaires sous l'impulsion de l'empereur Domitien dans les prouinciae de l'Empire, étant donné que ce thème n'a pas connu de révisions histo riographiques récentes. Il s'agit de réécrire un chapitre de l'activité édilitaire du dernier des Flaviens en s appuyant sur une documentation épigraphique inscrite dans un contexte chronologique et géographique renouvelé qui permet de relire la damnatio memoriae dont fut victime l'image publique de Domitien.
Javier Andreu Pintado, A chapter on public construction's spending in the Roman Provinces under Domitian. The imperial initiative, DHA 34/2., 2008, 115-143.
Abstract : This article is the first sketch of a study on the actions conducted by the emperor Domitian in the provinces of the Roman Empire. As there has not been any real investigation on the subject, we start by taking into account the epigraphical datas on imperial spending. From then, we study the chronological and geographical repartition of the edilitarian activity of Domitian in the provinces, as well as the consequences of his damnatio memoriae for the epigraphical sources, which supply us with the main part of our information on his reign.
Pintado Javier Andreu. Un capítulo de los gastos en construcción pública en época de Domiciano en las prouinciae. La iniciativa imperial. In: Dialogues d'histoire ancienne, vol. 34, n°2, 2008. pp. 115-143.
The condemnation of memory inexorably altered the visual landscape of imperial Rome. This volume catalogues and interprets the sculptural, glyptic, numismatic and epigraphic evidence for damnatio ...memoriae and ultimately reveals its praxis to be at the core of Roman cultural identity.
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