The landscape of my days appears to be composed, like mountainous regions, of varied materials heaped up pell-mell. There I see my nature, itself composite, made up of equal parts of instinct and training. Here and there protrude the granite peaks of the inevitable, but all about is rubble from the landslips of chance (...) [1]. 1. Reception studies and history Reception studies applied to history constitute a relatively new research field that was clearly influenced by the postulates of Reception Theory's scholars, such as Hans-Robert Jauss [21], which were developed during the 1960s and 1970s within literary studies. For this theoretical current, the significances of a given literary composition should be understood as always dependable of the readers, who produce meanings according to their own background. This proposal thus responded to the structuralist approach of the 1940's New Criticism, which defended that a text stood for itself ([2], pp. 250-255). Subsequently, several academics applied these notions in their historical approaches to literature. One of the scholars we should mention is Martindale [3, 16] who postulates in his opus Redeeming the Text the imperative need to include reception theory in the research area of classical studies ([4], p. 1). In this seminal work, Martindale identified some of the theoretical formulations that allow to recognise relevant historical significances in the different uses of antiquity. Within classical studies, Hardwick's [5] book Reception Studies: Greece and Rome: New Surveys in the Classics constituted another important step into the theoretical and methodological definitions of reception studies applied to ancient history. In this work, Hardwick detailed the main notions and concepts of the field, elaborating on how certain texts, images, and events of the ancient classical world were used in other historical contexts as political, cultural, and social autorictas, but also as symbols of resistance and controversy [19]. If we think about the pre-modern and modern western history, it becomes easy to identify this use of elements produced in antiquity as legitimation tools for those contexts. Take the Renascence, for instance, where there was an obvious reception of ancient Greek and Roman cultural and artistic traits, or the eighteenth century Enlightenment, profoundly marked by considerations on ancient literature, philosophy, and art. And more closely, let us not forget the nineteenth and twentieth century western imperialisms and colonialisms, where political, social, and military practices were justified through allusions to ancient Greek and Roman