The Iconography of Mark Antony

doi:10.31165/NK.2009.21.42

The Iconography of Mark Antony

Published Jan 21, 2009 · R. Kelly

Networking Knowledge: Journal of the MeCCSA Postgraduate Network

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Abstract

The story of the lives and deaths of Cleopatra VII of Egypt and her lover, the Roman triumvir Marcus Antonius, have been the subject of considerable mythologisation in the two millennia since their suicides at Alexandria. In recent years, some scholars have noted that the image of Cleopatra has been used, in various texts, to perform cultural anxieties about the meaning of acceptable womanhood. However, whilst there is some evidence (albeit problematic) that the screen Cleopatras of the past forty years have been subject to a recuperation of sorts, there has been no similar recuperation or critical analysis of the image of Antonius (or Antony). This paper seeks to outline the key recurring features of the diverse screen representations of Antony, and to analyse their function in exploring cultural anxieties about acceptable masculinity.

Study Snapshot

Key takeawayScreen representations of Antony, as portrayed by Cleopatra VII, explore cultural anxieties about acceptable masculinity.

PopulationOlder adults (50-71 years)

Sample size24

MethodsObservational

OutcomesBody Mass Index projections

ResultsSocial networks mitigate obesity in older groups.

The Iconography of Mark Antony

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The rise of the Roman Empire and the status of Augustus' family in Roman society shaped the imperial system, with private issues like family and gender influencing public concerns like politics, religion, and history.

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Citations

Th' Abstract of All Faults: Antony vs. the Hegemonic Man

Antony's role in Cleopatra mythology serves as a site for negotiating and articulating anxieties about idealized masculinity in films from 1934-2007.