By Alan J. Ross

Ammianus Marcellinus' Res Gestae holds a well known place in sleek experiences of the emperor Julian because the fullest extant narrative of the reign of the final 'pagan' emperor. Ammianus' Julian: Narrative and style within the Res Gestae bargains an enormous reinterpretation of the paintings, that's one of many major narrative resources for the political background of the later Roman Empire, and argues for a re-evaluation of Ammianus' time table and techniques in narrating the
reign of Julian.

Building on fresh advancements within the program of literary methods and significant theories to historic texts, Ammianus' presentation of Julian is evaluated through contemplating the Res Gestae inside 3 interrelated contexts: as a piece of Latin historiography, which consciously units itself inside of a classical and classicizing known culture; in a extra quick literary and political context, because the ultimate contribution through a member of an 'eyewitness' iteration to 1 / 4 century
of severe debate over Julian's legacy via numerous authors who had lived via his reign and were in various levels of proximity to Julian himself; and as a story textual content, during which narratorial authority is heavily linked to the personality of the narrator, either as an exterior narrating agent and an
occasional player within the occasions he relates. this is often complemented by way of a literary survey and a re-analysis of Ammianus' depiction of numerous key moments in Julian's reign, equivalent to his appointment as Caesar, the conflict of Strasbourg in 357AD, his acclamation as Augustus, and the disastrous invasion of Persia in 363AD. It means that the Res Gestae provides a Latin-speaking, western viewers with an idiosyncratic and 'Romanized' depiction of the philhellene emperor and that,
consciously exploiting his place as a Greek writing in Latin and as a modern of Julian, Ammianus wanted his paintings to be thought of a culminating and definitive account of the fellow and his life.

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