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Summary
Some years after his own death, Nero appeared again in the eastern provinces of the Empire, at least on two occasions. Beside the stories on these false Neros, other similar records are known from the works of Roman historians. The present study analyzes the stories of the famous clones, while collecting common motives in them. The study tries to explain in the given historical context the attempts made by the false Neros.
species (such as V. amurensis etc.) ( Hajdu, 2015 ). The genetic background of these non-Eurasian species is responsible for the high resistance attributes against fungal diseases in the offsprings, including powdery and downy mildew. Nero and Bianca are
A Winchester Psalter (Cotton MS Nero C. IV) előkelő helyet foglal el a román stílusú angliai kódexek között. A hasonlóan gazdagon díszített Winchester Bibliá val és a St. Albans Psalter rel együtt a korszak sokat elemzett alkotása, olyannyira
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.
In this study, an experimental challenge was carried out by feeding Nero Siciliano pigs with acorn to evoke melanin-like pigmentation and support the hypothesis that it is caused by ingested material. Twelve pigs were studied, 6 fed with acorns and 6 fed commercial feed. At slaughter, all the animals fed on acorns showed black discolouration of almost all lymph nodes. The lymph nodes were normal in size and shape. Histochemical tests performed on tissues allowed us to identify and differentiate the pigment. Immunohistochemical staining for macrophage markers showed macrophages containing a variable amount of melanin-like granules. Our data, and the well-known steps of melanin formation, confirm that swine enzymes could act on phenolic substances found in acorns.
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.
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.
Frange, puer, calamos...
Bukolikus allegória, panegyrikus és a költőszerep válsága T. Calpurnius Siculus IV. eclogájában
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.
