Vergilius békevágyával, emberi és politikai tisztánlátásával, vatesi képességével megalkuvást nem ismerő költő volt. Hivatásába, költészetébe azonban a princeps személyében beletiport a történelem. Georgica-jának IV. énekét újra kellett írnia, mivel Augustus nem tűrte el volt barátjának és hadvezérének, Gallusnak a dicsőítését. Magánéleti válsága is jól nyomon követhető eklogái Galatea alakjának segítségével. Végül a Didóval elmondatott hatalmas átok vezet el ahhoz a felismeréshez, hogy Dido alakja mögött Maecenas tragikus sorsú felesége, Terentia rejtőzik. Horatius III. 27. ódájának Galateájában jól felismerhető Terentia. Az óda intertextuális kapcsolata az AeneisIV. énekével így meggyőzően bizonyítja Galatea = Dido = Terentia azonosságát.
In the second half of the 16th century increasing interest in Greco-Roman drama lead to a revival of the fabula praetexta, i.d. plays staging Roman history. One of the finest examples is the “Lucretia, tragoedia nova” by the Silesian writer Samuel Iunius (*1567). In dramatizing the Livian story the poet follows Greek tragedies (e.g. Sophocles, Aias), but first of all imitates Vergil by assimilating Lucretia to Dido. Due to further parallels in structure and narrative technique Iunius' play even emerges as a kind of dramatic counterpart to the Aeneid. The choice of the subject as well as its treatment seem to suggest that the author lent his voice to political criticism and Anti-Habsburg opposition.
In several of his works, Boccaccio dedicates a whole chapter to the queen of Carthage: we meet Dido in Genealogia, in De casibus virorum illustrium, as well as in De mulieribus claris. While in his early works (e.g. Fiammetta, Filocolo, Amorosa visione, Teseida) the author always talks about Dido based on the Aeneid, in the three Latin works (in accordance with the spirit of the times and his argument) he partly or completely breaks from the Virgilian tradition.This study, on the one hand, aims to introduce those chapters of the three above-listed Latin works that deal with Dido and through this show how the evaluation of the Dido-Aeneas episode has changed in Boccaccio’s works. On the other hand, it searches for the answer to the question of what reasons might have led him to make contradictory statements in relation to certain elements of the story of the Carthaginian queen in his Latin works. Moreover, through these, it explains on what basis Boccaccio (who otherwise — as is clear from his last book Genealogia — has an immense respect for both the poetic craft and Virgil himself) judges and selects from his sources to suit the purpose of his works.
Guided beams of cold neutrons being installed at a number of research reactors may become increasingly available for analytical research. A guided cold beam will provide higher neutron fluence rates and lower background interferences than in present facilities. In an optimized facility, fluence rates of 109 n·cm–2·s–1 are obtainable. Focusing a large area beam onto a small target will further increase the neutron intensity. In addition, the shift to lower neutron energy increases the effective cross sections. The absence of fast neutrons and gamma rays permits detectors to be placed near the sample without intolerable background, and thus the efficiency for counting prompt gamma rays can be much higher than in present systems. Measurements made at the hydrogen cold source of the FRJ-2 (DIDO) reactor at the KFA provide a numerical evaluation of the improvements in PGAA with respect to signal-to-background ratios of important elements and matrices.
Authors:P. Englert, U. Herpers, R. Sarafin, and St. Vogt
Radiochemical neutron activation analysis is the only method to determine the galactic cosmic ray (GCR) produced radionuclide53Mn (T=3.8·106) in small meteorite samples. A large number of such samples was analyzed using extremely thermalized neutrons of the DIDO reactor at the KFA Jülich. The detection limit of 10–14 g/g was recently achieved in our laboratory through the improvement of pre- and postirradiation chemistry. The main purpose of our studies of meteorite finds from Antarctica and the Southwestern United States is to establish their exposure ages up to 12·106 a by means of53Mn. Especially in the case of Antarctic meteorites terrestrial ages up to several 105 years have been observed by combining53Mn and26Al (T=7.2·105 a) measurements.
This paper explores the iconography of two prints owned by Haydn, the traditions to which they belonged and their aesthetic consequences. The prints depict two contrasting audiences, one amused and the other despondent, and feature a range of iconographic references that Haydn would have readily responded to, including such themes as the death of Dido, the world of Tristram Shandy, the madness of Orlando and Don Quixote, the humorous verse of Peter Pindar (one of Haydn’s librettists) and inevitably (in prints of this kind) contemporary English politics. A particular point of interest is a caricature of Edward Topham, an amateur caricaturist and founding editor of the influential newspaper
, featured in one of the prints. In a series of issues in the late 1780s
published a ‘correspondence’ with Haydn himself, which sought to undermine the composer’s suitability for composing with London audiences’ in mind. The print may have helped serve to remind Haydn of this dispute at the time he actually began composing in London and to aid him in keeping such audiences in mind when composing for them.
: Ovid and the Fasti: An Historical Study . Oxford–New York
Horsfall , N. 1973 – 1974 : Dido in the light of history . Proceedings of the Virgil Society 13 , pp. 1 – 13 .
Johnston , P. A. 2002 : The Anger of Juno in Vergil’s Aeneid . In
Medea before her (indeed, also to the Carthaginian Dido) – but just as Medusa was destroyed, so too will Cleopatra meet her end. 41 The serpentine associations of Minerva with her Gorgon avatar are not to be found on Aeneas’ shield; the aegis of the