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Theodora: Actress, Empress, Saint (2015)

by David Potter

Series: Women in Antiquity (9)

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Two of the most famous mosaics from the ancient world, in the church of San Vitale in Ravenna, depict the sixth-century emperor Justinian and, on the wall facing him, his wife, Theodora (497-548). This majestic portrait gives no inkling of Theodora's very humble beginnings or her improbable rise to fame and power. Raised in a family of circus performers near Constantinople's Hippodrome, she abandoned a successful acting career in her late teens to follow a lover whom she was legally forbidden to marry. When he left her, she was a single mother who built a new life for herself as a secret agent… (more)
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"Potter’s discursive style obscures numerous surprising anecdotes, particularly those of Theodora’s detractors, but this is still a notable biography of an overlooked figure."
added by bookfitz | editPublishers Weekly (Aug 10, 2015)
 
The present one included, five books have appeared since the turn of the millennium focused on Theodora, Late Roman empress (d. 548), and we also have a plethora of broader studies of imperial women, most recently Anja Busch, Die Frauen der theodosianischen Dynastie (2015). The subject of women and power is now an established research topic that brings with it two questions. First, did empresses actually wield emperorship, descended from magisterial power accessible only to males, or did they rule only through influence ? Second, do we know enough about any empress to make the study of a single one advisable, or to write anything like biography, or is the result actually narrative history of a reign with special and somewhat awkward attention to a Theodora, a Sophia, or a Pulcheria?

Potter’s approach to the second question is to put the woman “in the world in which she lived” (213). “World” here means the imaginative universe of angels and demons, and of contentious Christological debates over the Council of Chalcedon (451). It means the social world in which by merit a man or woman could advance to the highest rank from no rank at all. It means also locating Theodora in the palaces and streets that she inhabited and the costume she wore, and recovering her daily habits and diet. These help Potter to extrapolate an authentic personality and to create an engaging, up-to-date narrative of Justinian’s reign, enriched by focus on one of its most fascinating figures.
 

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On Monday the eleventh of August, AD 559, Emperor Justinian entered Constantinople.
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Two of the most famous mosaics from the ancient world, in the church of San Vitale in Ravenna, depict the sixth-century emperor Justinian and, on the wall facing him, his wife, Theodora (497-548). This majestic portrait gives no inkling of Theodora's very humble beginnings or her improbable rise to fame and power. Raised in a family of circus performers near Constantinople's Hippodrome, she abandoned a successful acting career in her late teens to follow a lover whom she was legally forbidden to marry. When he left her, she was a single mother who built a new life for herself as a secret agent

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