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• Agrippina, HWV 6 / George Frideric Handel ; Vincenzo Grimani (Bernard Deletre, bass ; Fabrice di Falco, soprano ; Veronique Gens, soprano ; Alain Buet, bass ; Philippe Jaroussky, counter-tenor ; Ingrid Perruche, soprano ; Nigel Smith, baritone ; Thierry Gregoire, counter-tenor ; Fabrice di Falco, counter-tenor ; Jean-Claude Malgoire, conductor ; La Grande Ecurie et la Chambre du Roy).

Agrippina the Younger ranks as one of the most powerful women in the history of the Roman empire. Judith Ginsburg's book provides a fresh look at both the literary and material representations of Agrippina. Her incisive study exposes both the contrivances of the commissioned artists whose idealized portraits served to buttress the image of the regime and the contrasting designs of the historians whose rhetorical stereotypes and negative depictions aimed to undermine it.
(source: Nielsen Book Data)

Agrippina the Younger ranks as one of the most powerful women in the history of the Roman empire. Judith Ginsburg's book provides a fresh look at both the literary and material representations of Agrippina. Her incisive study exposes both the contrivances of the commissioned artists whose idealized portraits served to buttress the image of the regime and the contrasting designs of the historians whose rhetorical stereotypes and negative depictions aimed to undermine it.
(source: Nielsen Book Data)

• L'héritage d'auguste
• Sur les cendres de la République naquit un empire
• La Domus Augusta : des vipères et des héritiers
• Chers parents
• Portraits de famille
• Tibère au pouvoir
• Le voyage en Orient
• Une adolescente discrète
• Les affres du Palatin
• Survivre à la tourmente
• Rivalités fraternelles
• Premiers rêves de pouvoir
• Les dérives de Caligula
• Premier complot
• Messaline, une dangereuse rivale
• Retour en grâce
• Messaline, putain ou stratège ?
• La conquête de l'empire
• L'odeur de la pourpre
• Une reine en son palais
• Le goût du sang
• La meilleure des mères
• Le "principat" d'Agrippine
• Femme au foyer
• Comme Icare
• Une mère rejetée
• Agrippine, une héroïne tragique
• Après le crime
• La légende d'Agrippine
• Agrippine et le procès de l'Histoire
• Agrippine dans la fiction
• Conclusion : Faut-il, réhabiliter Agrippine la jeune ?

"Agrippine la Jeune appartient à la lignée des femmes dangereuses, des empoisonneuses, des séductrices, entre Médée et Lady Macbeth. Son plus grand crime? Avoir porté un monstre à la tête de Rome ! Car Agrippine la Jeune est la mère de Néron, le tyran qu'on accusa de tous les vices, le premier persécuteur des chrétiens. Pour déposer la couronne de lauriers sur la tête de son fils et gouverner Rome à ses côtés, Agrippine souilla ses mains du sang d'innocents, s'offrit à des hommes de toutes conditions pour mieux les manipuler. Hélas, Néron, une fois son pouvoir bien établi, assassina sa démiurge de mère. Mais l'historiographie est trompeuse. Derrière la criminelle sensuelle, derrière la mère indigne, se cache une femme résiliente et intelligente, une femme politique redoutable, déterminée et machiavélique. Le destin d'Agrippine est incroyable. D'illustre naissance, descendante à la fois d'Auguste, de Marc Antoine et de Jules César, elle révolutionna la fonction d'impératrice et prit part au gouvernement de Rome envers et contre tous en dépit de sa condition de femme. Et si c'était là sa plus grande transgression?"--P. [4] of cover.

• List of Illustrations. Foreword. Significant Events and Figures.
• 1. Background
• 2. Family
• 3. Daughter
• 4. Sister
• 5. Niece
• 6. Wife
• 7. Mother
• 8. The End
• 9. Sources Appendices: I.The Year of Agrippina the Younger's Birth II. The Husbands of Domitia and Lepida III. The Date of Nero's Birth IV. The Family of Marcus Aemilius Lepidus V. Agrippina's Movements in Late 39 VI. The Date of Seneca's Tutorship VII. The Decline in Agrippina's Power VIII. The Patronage of Seneca and Burrus in 54-9 IX. SC on Gold and Silver Coins of Nero X. The Final Days of Agrippina Abbreviations. Notes and References. Bibliography. Index.
• (source: Nielsen Book Data)

In this dynamic new biography - the first on Agrippina in English - Professor Barrett uses the latest archaeological, numismatic and historical evidence to provide a close and detailed study of her life and career. He shows how Agrippina's political contribution to her time seems in fact to have been positive, and that when she is judged by her achievements she demands admiration. Revealing the true figure behind the propaganda and the political machinations of which she was capable, he assesses the impact of her marriage to the emperor Claudius, on the country and her family. Finally, he exposed her one real failing - her relationship with her son, the monster of her own making to whom, in horrific and violent circumstances, she would eventually fall victim.
(source: Nielsen Book Data)

Agrippina the Younger ranks as one of the most powerful women in the history of the Roman empire. Judith Ginsburg's book provides a fresh look at both the literary and material representations of Agrippina. Her incisive study exposes both the contrivances of the commissioned artists whose idealized portraits served to buttress the image of the regime and the contrasting designs of the historians whose rhetorical stereotypes and negative depictions aimed to undermine it.
(source: Nielsen Book Data)
Agrippina the Younger, wife of the emperor Claudius and mother of his successor Nero, wielded power and authority at the center of the Roman empire in ways unmatched by almost any other woman in Roman history. Such, at least, is the portrait of Agrippina delivered by our sources and perpetuated in modern scholarship. In this posthumous work, Judith Ginsburg provides a fresh look at both the literary and material representations of Agrippina. Unlike previous treatments, she seeks neither to condemn nor to rehabilitate Agrippina. Nor does she endeavor to exhume the "real Agrippina" from the embellished or fabricated portraits found among the ancients. Ginsburg trains her focus on the representations themselves. Her painstaking dissection of the portrayals by historians exposes the rhetorical tropes, the recurrent motifs, and the craft that shaped the literary image of Agrippina. The designs, as Ginsburg shows, were more than literary flourishes. They aimed to blur the boundaries between the domestic and the imperial realms, deploying the image of Agrippina as domineering wife and mother to suggest the flaws and instability of the regime, a dysfunctional family entailing a dysfunctional system of governance. Gender inversions at home played themselves out on the public scene as imperial rule compromised by female ascendancy. Distorted stereotypes of the "wicked stepmother, " the domineering woman, and the sexual transgessor were applied to underscore the violations of status and disruption of gender relations that characterized the imperial administration. Ginsburg has as keen an eye for visual (mis)representations as for literary ones. The depictions of Agrippina on coinage and statuary provide a stark contrast with the written evidence. She appears as matron and priestess, emblematic of domestic rectitude and public piety, and a central figure in the continuity of the dynasty. Ginsburg incisively demonstrates the means whereby Agrippina's imagery was molded both to serve the interests of the Julio-Claudian regime and to advance the ends of its critics.
(source: Nielsen Book Data)