Following his assassination in September of AD 96, Domitian was penalized with post-mortem memory sanctions. These kind of sanctions are often portrayed by both modern scholars and ancient historians as being implemented relatively uniformly in all of the cases of emperors who were subject to these sanctions. This applies both to the actual body of sanctions which were implemented by the senate, and the enthusiasm with which the populace followed them. While there is some commonality in the levying of sanctions between all condemned individuals, it is important to understand the differences between them in order to comprehend how each was viewed in his own time. In the case of Domitian, the senate punished him with heavy sanctions, and the people obeyed them. However, there is not the same evidence of mob violence against his images by the people, which would prove a dislike for him outside of the political elite. By investigating the evidence for these sanctions in the ancient literary sources, as well as the physical evidence from both inscriptions and sculpted likenesses, a more clear picture than previously presented can be created of the public perception of his reign. Also, this thesis evaluates the kind of messages that Nerva wanted to send by the way in which he condemned Domitian. Nerva’s history as loyal to the Flavians seems to conflict with his succession on the same day as the murder and the sanctions he put in place against his predecessor. The way in which he chose to deal with the memory of his predecessor is demonstrative of his successful attempt at distancing himself from the previous dynasty. Therefore, a study of the sanctions can both provide information about the perception of the condemned, which has since been lost, and also illustrate the policies of the next regime. / Thesis / Master of Arts (MA) / In Ancient Rome, when an emperor or political figure was assassinated, often the Roman senate would levy sanctions against anything which recalled the memory of the condemned individual, for example, inscriptions and portraits. Some of these sanctions were voted for the emperor Domitian following his assassination in AD 96. By examining the physical evidence of these sanctions in the case of Domitian, some information can be gleaned about the execution of this kind of legislation in general, and how it was specifically done in the case of Domitian. By examining the ancient literary accounts, inscriptions, and sculpted likenesses of this emperor, the extent of these sanctions, as well as the motivations of those ordering them and carrying them out, can be established. In particular, the motivations of his successor, Nerva, in establishing these laws and the sentiments of the people towards Domitian are considered.

Orientador: Margarida Maria de Carvalho / Resumo: A dinastia dos Severos foi a primeira de origem africana e semítica no Império Romano. Tal dinastia teve início no final do século II d.C. com a conquista do Principado por Septímio Severo, o qual foi sucedido por Caracala, Macrino, Heliogábalo e Severo Alexandre, respectivamente. Dentre os governantes da Dinastia Severa, destacamos o jovem Heliogábalo, proveniente da Síria. Trata-se de um imperador romano que foi muito criticado por autores como Dião Cássio, um senador romano, e Herodiano, que era associado à aristocracia imperial, de modo que a partir das críticas feitas por esses dois autores podemos perceber uma grande resistência às inovações introduzidas por Heliogábalo no campo políticoadministrativo, sobretudo devido à influência do mos maiorum sobre os modelos de análise de Dião Cássio e Herodiano. Uma dessas inovações realizadas pelo imperador foi a concessão de cargos administrativos a artistas da parte oriental do Império. Assim, com base na leitura da documentação, pensamos que para Heliogábalo não era um problema nomear artistas em cargos administrativos, já que ele mesmo se considerava um artista e ocupava o cargo de imperador. Heliogábalo apenas reproduziu, como imperador romano, as práticas culturais que executava na cidade de Emesa, na Síria, onde ocupava o posto de sacerdote antes de se tornar o Princeps. Objetivamos, portanto, compreender a confluência cultural entre a parte oriental e ocidental do Império Romano e como, por meio dela, se abre uma brecha p... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The Severan Dynasty was the first of an African and Eastern origin in the Roman Empire. This dinasty has its origin in the endind of the century 2 A.D with the conquest of the principate by Septimius Severus, who was sucessed by Caracalla, Macrinus, Elagabalus and Severus Alexander, respectively. Between the rulers of the Severan dynasty we highlight the young Elagabalus, who came from Syria. It is a Roman Emperor who was very criticized by autors like Cassius Dio, a Roman senator, and Herodian, who was associated with the imperial aristocracy, in a way that with the critics made by this two autors we can realize a great resistance to the innovations introduced by Elagabalus in the administrative-political field, above all by the influence of mos maiorum in the analysis models of Cassius Dio and Herodian. One of those innovations realized by the emperor was the concession of administrative posts to artists of the eastern part of the empire. Thus, whith base on the lecture of documentation, we think that for Elagabalus it was not a problem to name artists in administrative posts, because he considered himself an artist who occupied the post of emperor. Elagabalus only has reproduced, as a Roman Emperor, the cultural pratices that he has executed in the city of Emesa, in Syria, where he occupied the post of priest before and became the Princeps. We have, therefore, like objective, understand the cultural confluence between the eastern and western parts of the Roman Empire and h... (Complete abstract click electronic access below) / Mestre

Llevada a cabo por el emperador Domiciano en las provincias hispanas y determinar cuáles fueron las obras públicas construidas a raíz de dicha actividad. Para ello hemos procedido a analizar distintos epígrafes que nos permiten vincular determinadas obras públicas con este Emperador, así como algunos de los restos arqueológicos pertenecientes a aquellas, partiendo de la bibliografía existente sobre ellas. A estas construcciones de carácter público debemos sumar aquellas otras que también fueron levantadas durante el gobierno del Princeps en la península Ibérica y de las que tenemos constancia gracias tanto a las fuentes epigráficas como a las fuentes arqueológicas, pero que fueron financiadas a partir del evergetismo privado. Además, hemos analizado un conjunto de obras públicas que fueron construidas por el Emperador flavio y que tras su muerte sufrieron la aplicación de la damnatio memoriae que fue decretada contra él, de modo que podemos comprobar que todas ellas fueron desvinculadas de la actividad edilicia domicianea y ligadas a la figura del sucesor de Domiciano, el emperador Nerva, y sobre todo a la figura del hijo adptivo y sucesor de este último, el emperador Trajano. Con el fin de entender el decreto de la damnatio memoriae y las causas que pudieron llevar a que aquella fuera aplicada en las distintas obras públicas estudiadas hemos analizado también la información que las fuentes clásicas aportan sobre los distintos aspectos de la figura y del gobierno de Domiciano, así como la información que los historiadores contemporáneos aportan al respecto.

Denna uppsats undersöker diskursen kring Linnémonumentet i Humlegården, Stockholm och Louis De Geer-statyn på Gamla Torget, Norrköping, samt diskuterar vilken betydelse skulpturerna fick under Black Lives Matter-demonstrationerna år 2020 i relation till antirasism och historiska företeelser av 'damnatio memoriae'. Med ett postkolonialt och kritiskt rasteoretiskt perspektiv syftar denna uppsats till att framhäva och analysera de resonemang som tog mest plats under debatten, centrerat kring antirasistiska och icke-vitas röster. Genomgående används därav den kritiska diskursanalysen och semiotiken som metoder för att skapa en förståelse kring auktoritet, samt att belysa det svenska samhällets syn på sin koloniala historia och lyfta diskussionen kring bland annat ras, klass, kön och makt i förhållande till den offentliga konsten. Uppsatsen resonerar sålunda hur offentliga och publika platser i samhället kan avkolonialiseras med avsikt att skapa ett hem för oss alla. / This thesis examines the discourse regarding the Linnaeus Monument in Humlegården, Stockholm, and the Louis De Geer statue at The Old Square, Norrköping. It further analyzes the significance that sculptures gained during the Black Lives Matter demonstrations in 2020, in relation to anti-racism and historical phenomena of 'damnatio memoriae'. With a theoretical framework of postcolonialism and critical race theory, this thesis aims to highlight and analyze the reasonings that were central during the debate, focusing on anti-racist and people of color's voices. Thus, critical discourse analysis and semiotics are used as methods to create an understanding of authority and to shed light on Sweden's own view of its colonial history and elevate the discussion concerning race, class, gender, and power, etcetera, in relation to public art. The thesis, hence, argues how public places in society can be decolonized with the intention of creating a home for all of us.