Arminius the Liberator: Myth and Ideology by Martin M. Winkler

By Martin M. Winkler

Arminius the Liberator deals with the complicated smooth reception of Arminius the Cheruscan, quite often referred to as Hermann. Arminius inflicted one in all their so much devastating defeats at the Romans within the yr nine A.D. by way of annihilating 3 legions below the command of Quintilius Varus within the conflict of the Teutoburg wooded area, because it is mostly if inaccurately referred to as. This publication lines the beginning of the Arminius fantasy in antiquity and its political, creative, and well known advancements because the 19th century. The book's principal subject matters are the nationalist use and abuse of historical past and ancient fable in Germany, specially through the Weimar Republic and nationwide Socialism, the reactions to a discredited ideology regarding Arminius in post-war Europe, and revivals of his fantasy within the usa. distinct emphasis is at the illustration of Arminius in visible media because the Sixties: from portray and theater to cinema, tv, and laptop animation.

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Everything is subordinate to the aim of his portrayal, which is to describe suffering. 3–4. ), Frontinus: The Stratagems, 253. This indicates at least a second day of fighting. 10 A translation of Dio appears in Appendix 1. 11 Rejecting Dio, Wells, The Battle That Stopped Rome, 228 and 234, still assumes a single day for the battle, which is hardly convincing; see especially Swan, The Augustan Succession, 262–266 and 375–376. Cf. Goodyear, The Annals of Tacitus, vol. ” See further Goodyear, 96 n.

To Benjamin’s word film we could now add and related media. What Benjamin says, here and throughout his essay, about all works of art that can be looked at is important for the reproduction of textual history and both verbal and visual historical myth in the media age. It applies to all the political and ideological distortions forced upon history and historiography, the latter of which has itself been an art form since antiquity, although not primarily a visual one. 57 Preceding such a return there was the birth of myth from history—the birth of the kind of thought that attempts to make historical fact meaningful by rewriting it according to certain preconceived social, political, and ideological notions current at a particular time.

7 Florus, too, emphasizes emotions more than facts. As he announces in his Preface, the task he set himself is to demonstrate the greatness of Rome as brought about by Virtus et Fortuna: the innate qualities of great men and good Fortune. These may occasionally have been missing, as was the case of the disaster in Germany, but setbacks such as this could be evened out in the long run. Florus’ attention to vivid details, reinforced by direct quotation, throws the Romans’ misfortune into greater relief.

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