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Nero a halála után néhány évvel ismét feltűnt a római politika színpadán, a birodalom keleti tartományaiban, mégpedig legalább kétszer. Az ál-Nerók tevékenységén túl más politikai kalandorok hasonló történetei is ismertek a római történetírásban. A tanulmány elemzi az ismert hasonmások történeteit, bemutatva a közös motívumokat. Továbbá megpróbál magyarázatot adni az ál-Nerók kísérleteire az adott történelmi kontextusban.

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The Tarragona Museum is in possession of a gem engraved with a satyr-citharode dressed as Hercules (Nr. 7543). The gem, according to the inscription, is the work of Scylax, an engraver at the court of Claudius and Nero. With the figure of the satyr-citharode, Scylax expressed his disapproval of Nero, the tyrant who proclaimed himself a great sportsman and artist.

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Antik Tanulmányok
Authors: Tar Ibolya, Ferenczi Attila, Kopeczky Rita, Krupp József, and Simon Lajos Zoltán
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All the actors in Octavia, a pseudo-Senecan drama, are afraid of something. Only the Roman people are capable of overcoming their fears and of supporting the emperor's rejected wife and this eventually leads to their fall. Octavia, who enjoys the people's sympathy, nonetheless remains passive. Her passivity can be interpreted as a form of resistance through inactivity - she considers this the only means of preventing the impending marriage between Nero and Poppea.

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The allegorical conception of the bucolic genre that became general in Nero’s time led to a simplification compared to Vergil’s complex art of creating symbols. Calpurnius overcame the limits of a mere reproductive imitation exactly by making use of the possibilities of pastoral allegory; in Corydon’s figure he painted a bitterly self ironic picture of his own efforts to establish himself, of the controversies of patronage and the miserable situation of poets. In Eclogue IV he does not only reverse the lines of allusions from Vergil, Ovid and other poets but also key concepts of the Augustan age such as rusticitas, paupertas, simplicitas, vates and thus confronts his own age with its deficiency in view of the idealised rule of Augustus. The carmen amoebeum exalts the Golden Age of Nero, which has often been analysed separately from the narrative frame as a document of uninhibited adulatio , can gain its full meaning only in this context.

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Frange, puer, calamos...

Bukolikus allegória, panegyrikus és a költőszerep válsága T. Calpurnius Siculus IV. eclogájában

Antik Tanulmányok
Author: Simon L. Zoltán

A bukolikus műfaj allegorizáló fölfogása, mely Nero korában általánossá vált, soktekinte tben elszegényedést hozott Vergilius bonyolult jelképteremtő művészetéhez képest. Calpurniusnak azonban éppen a pásztori allegóriában rejlő lehetőségeket kiaknázva sikerült a pusztán reproduktív imitáció kötelmein túllépnie; Corydon alakjában saját érvényesülési törekvéseiről, a mecenatúra visszásságairól, a költők sanyarú helyzetéről rajzolt keserűen önironikus képet. A IV. ecloga nem pusztán Vergilius, Ovidius és más költők allúziók megidézte szövegeit fordítja visszájára, hanem az augustusi kor irodalmának olyan kulcsfogalmait is, mint a rusticitas, paupertas, simplicitas, vates, ezáltal pedig saját korát Augustus eszményített uralkodásának tükrében szembesíti fogyatékosságaival. A Nero aranykorát magasztaló dalverseny, melyet gyakran vizsgáltak a kerettörténetből kiemelve a gátlástalan adulatio dokumentumaként, csak ebben a szövegkörnyezetben nyeri el teljes értelmét.

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Metamorphosis and Disruption

Comments on Seneca's 114th Epistula Moralis

Acta Antiqua Academiae Scientiarum Hungaricae
Author: László Takács

Seneca, in the 114th piece of his Moral letters (written most probably in the fall of 64 A.D.), evokes a part of Virgil's Georgics, which he already quoted and construed more than 10 years earlier in De clementia, addressed to Nero. At the same time, he lashes out on Maecenas. Since Seneca mentions such characteristics of Maecenas that, according to historical sources, resemble some of Nero's actions, and since he evokes a fragment already analyzed for Nero, it seems very likely that the letter should be viewed as the philosopher-statesman's critique of Nero.

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L. Annaeus Cornutus - a késő-ókori grammatikusnál, Charisiusnál fennmaradt töredék alapján - Vegiliusról szóló kritikai művét Silius Italicusnak, a Punicacímű eposz szerzőjének ajánlotta, aki ifjúkorában Nero költői köréhez tartozott. Nero irodalmi köre történetének ismeretében és a töredék részletes elemzése alapján feltételezhető, hogy Cornutus ezt a művét, amelyet az idősebb Plinius idézhetett Dubius sermocímű művében, alighanem a 60-as évek elején írta és jelentette meg.

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Abstract

Although various works had been dealt with Roman money circulation of the Great Hungarian Plain some phenomena remained undiscovered for the research. This paper deals with republican and early imperial mints came to light in the territory of Szolnok County. The Jászdózsa hoard with its 114 pieces of Roman republican and early Roman period denars from P. Sulla (151 B.C.) to Emperor Nero (AD 64–68) belongs here. The Roman coins had appeared in large numbers only since the first century AD in the Great Hungarian Plain. The republican coins are very rarely represented, though they are very common in Transylvania. From the Zagyva mouth area to the river Tisza, and from the territory of the Jászság some hoards and scattering finds are known. It is difficult to interpret the circulation of these coins due to the lack of written sources and archaeological finds. Because of the Aurei the role of Roman politics should also be taken into consideration. Which gentes had lived in the territory of the Jászság and what role they had played in the relationship system of the Carpathian Basin we have rarely any information about. The hoard of Jászdózsa was probably hidden at about the Year of the Four Emperors (AD 69) or shortly thereafter.

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