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A presente dissertação investiga o funeral de Augusto, pois, como apontam os registros documentais, como, por exemplo, Tácito e Dion Cássio, o cortejo fúnebre foi um mecanismo de representação da memória social. Nele evoca-se o passado para divulgar a vida dos falecidos. Nos cortejos celebram-se as relações familiares, a identidade de cidadão, a história do morto e a comunidade. Assim, interessa-nos compreender os funerais imperiais como espetáculos que se articulam às relações de poder, uma vez que se comemora a vida do Princeps e sua divinizazação. Dessa forma, ao utilizarmos a historiografia antiga, analisaremos o funeral de Augusto sob a ótica de Tácito, Suetônio e Dion Cássio, que serviram de fonte para a nossa pesquisa e que constituem repositórios de memórias construídas em distintos períodos. A present dissertation investigates or funeral of Augustus, pois, as apontam os records document, as, for example, Tacitus and Dion Cássio, or funeral procession foi um mechanism of representation of social memory. Nele evokes-se or passado to disclose to life two falees. We courted celebram-is familiar relações, to identity of cidadão, to history of death and to comunidade. Assim, interessa-us compreender os funerais imperiais as espetáculos that are articulated to the relações de poder, a time that is commemorated to life of Princeps e sua divinizazação. Dessa form, ao we will use historiografia antiga, we will analyze or Augustus's funeral on the otic of Tacitus, Suetonium and Dion Cássio, who will serve as a source for our research and who constitute memory repositories built in different periods.

Vor einer Generation, als Grabungen am Palatin das Haus des Augustus beim Heiligtum des Apollo zutage brachten, wurden architektonische Tonreliefs der fruhaugusteischen Zeit gefunden. Von diesen werden hier drei zusammengehorende Typen neu nach ihrem Inhalt befragt. Sie sind trotz ihres ornamentalen Charakters Zeitzeugnisse; doch steht Hercules beim Dreifusstreit nicht, wie bisher zum Teil angenommen, fur Marcus Antonius. Da uns der gleiche Relieftypus am romischen Capitol wie am entsprechenden Heiligtum in Cosa begegnet, weist er auf den altesten Orakelgott Jupiter hin. Bei ihm waren in Rom die sibyllinischen Orakel aufbewahrt, bis Augustus sie 12 v.Chr. in den palatinischen Tempel uberfuhrte. Der Plan dazu durfte nach Aussage der Campanareliefs schon fruher bestanden haben: Apollo und Hercules versohnen sich nach dem Willen ihres Vaters Jupiter und ersetzen ihn als Orakelgott. Der Palatin wurde zum Parnass, und Hercules hatte in Ostia und Latium Orakelstatten., A generation ago, when excavations at the Palatine unearthed the house of Augustus near the sanctuary of Apollon, architectural clay reliefs of the early augustean period were discovered. Of these, three interrelated types are reanalysed for their meaning. Despite their ornamental character they need to be treated as documents; contrary to previous opinion, in the scene depicting an argument about a tripod Hercules does not stand for Marcus Antonius. The same type of relief also exists on the Roman Capitol and the Sanctuary in Cosa, and hence refers to Jupiter as the oldest god of oracles. At the temple of Jupiter Capitolinus the Sibylline oracles were kept until Augustus transferred them to the Palatine in 12 BC. By the interpretation of the Campana reliefs proposed here, the plan to transfer the Sibylline oracles was formed earlier: Apollo and Hercules reconcile their differences according to the will of their father Jupiter and replace him as the god of oracles. The Palatine became the Parnass, and Hercules had oracles at Ostia and in Latium.