The first chapter puts into context the reign of Cleopatra, with questions about decadence lEgypte (DAfter comment Strabo and Justin debauchery and disorganization of the realm), or the weight of the reign of Ptolemy XII of the political mentality the Queen. In the following three chapters, there are relations (political and personal) of the queen with Caesar and Antony and his death, with questions such as "Julius Caesar, Caesarion's father? "," Looking for the snake that killed Cleopatra ". Above all, the reign, relationships and suicide are seen in their symbolic and ideological aspects in subsequent speeches that relate, interpret and distort history. Chapter 5 returns to the administration of the kingdom (the Court, the capital, taxation, law, the army, the very current issues of cultural transfers between Greeks and Egyptians.)
The second part is the most innovative. It shows ideology and political discourse of the queen, his "propaganda" that legitimizes its feminine power DAfter Figures dHatshepsout, of Alexander the Great, the deities and DAfter its own virtues: piety, knowledge, but also on his life "inimitable" and its relationship supposedly "friendly" with Rome. The ancient portraits of the queen occupy chapter seven; the reappropriation of myth to later periods and up to the "Cleopatra Performance" Rihanna provide the material of the opening, in painting, literature, cinema, theater etc.
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