Made available in DSpace on 2014-06-11T19:26:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-27Bitstream added on 2014-06-13T19:48:02Z : No. of bitstreams: 1 souza_da_me_assis_parcial.pdf: 54774 bytes, checksum: d766c143bca0c004bcecebbd9cc9a048 (MD5) Bitstreams deleted on 2014-11-14T12:16:57Z: souza_da_me_assis_parcial.pdf,Bitstream added on 2014-11-14T12:17:44Z : No. of bitstreams: 1 000638477.pdf: 729122 bytes, checksum: 3041b976b775470280bae3f35a83a9b9 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Essa dissertação concebe uma breve reconstituição da situação dos estudos plinianos no Brasil e no mundo, apresentando os principais pesquisadores da referida área. Aborda a problemática da representação de homem político de acordo com o discurso apresentado por Plínio, o Jovem em seus livros de I à IX. Por meio desse epistolário faz uma análise da contribuição da fides e da virtus, bem como da imagem que o autor constói de si e do princeps na constituição do modelo de homem político durante o período de 96 a 113 d.C. Para tanto, utilizase dos pressupostos advindo das contribuições metodológicas elaboradas pela Histórica Cultural, em especial pelo conceito de representação adotado por Roger Chartier / This dissertation conceives a brief reconstitution of studies about Pliny, the Younger in Brazil and in the World, showing the majors researchers of this area. Approach problematic of the civil man’s representation according to the discourse presented by Pliny, the Younger in him books I to IX. Through this epistolary, we make a analysis of the contribution of the fides and the virtus, as well as the image created by the autor about himself and about the princeps in the constitution of the civic man’s model while 96 to 113 a. D. For this, we used the assumptions coming of methodological contributions prepared by the Cultural History, in special the representation’s concept adopted by Roger Chartier

Cette thèse vise à préciser l’importance et le relief singulier que Valérius Flaccus donne aux figures du pouvoir monarchique dans les Argonautiques. Elle sollicite la vaste tradition littéraire antique portant sur les figures du bon roi et du tyran, ainsi que les représentations du pouvoir véhiculées par l’idéologie impériale, afin de déterminer quel regard spécifique ce poète porte sur une problématique universelle et quels procédés il met en œuvre pour rendre cette représentation originale et efficace. Ce travail, qui écarte tout parti pris référentiel,s’articule autour d’une étude des personnages.Le poète analyse les mécanismes de fonctionnement de la tyrannie. Il en souligne le caractère oppressant en faisant des tyrans les pivots de la narration épique et en théâtralisant fortement leurs apparitions, susceptibles de frapper le lecteur. Aux tyrans s’opposent de nombreux rois exerçant un pouvoir positif. Le poète grandit ces figures en les valorisant sur le plan éthique mais montre aussi de façon répétée leur chute ainsi que la stérilité de leur pouvoir afin de susciter la compassion du lecteur. L’élaboration du personnage de Jason se fait sur le même modèle que celle des bons rois. La mise en valeur des qualités du chef ne rend que plus saisissante sa déchéance future, sans cesse annoncée. L’inquiétude et le pessimisme se dégagent donc de cette représentation du pouvoir royal, conçu sous sa forme pervertie, la tyrannie, ou associé à la décadence.Cette thèse permet d’ajouter une contribution à l’histoire des représentations et de prendre la mesure des évolutions du genre épique, qui fait alors une place importante à la tragédie et aux effets pathétiques. / This thesis aims to specify the importance and the unique depth Valerius Flaccus gives to the figures of monarchic power in the Argonautica. It calls on the vast antique literary tradition which deals with the figures of the good king and the tyrant, as well as the representations of power carried by the imperial ideology, in order to determine what specific look this poet takes on an universal issue and what literary devices he uses to make this representation original and efficient. This work that rejects every referential bias is based on a study of the characters. The poet analyses how tyranny works. He underlines its oppressive nature by making tyrants the pivots of epic narration and by strongly dramatizing their appearances, which is likely to strike the reader. Numerous kingsembodying a positive power contrast with tyrants. The poet enhances these figures valuing them from an ethic point of view. But he also repeatedly shows their falls as well as the sterility of their power in order to arouse thereader’s sympathy. To elaborate the character of Jason he proceeds in the same way as for the good kings.Emphasizing the qualities of the leader makes his constantly announced future decline all the more striking andmoving. Anxiety and pessimism prevail in the representation of royal power, which is seen in its corrupted form,tyranny, or associated to decline.This thesis contributes to the history of representations and makes it possible to assess the evolutions of the epicgenre, which then affords an important place to tragedy and pathetic effects.

Диссертация посвящена эволюции военно-административной системы Римской империи в восточных провинциях в I в. н. э. Состояние источников позволяет утверждать, что регион Ближнего Востока наиболее репрезентативен для изучения данной проблемы. В I в. н. э. Рим начал переход от завоевательной стратегии к обороне границ. Одновременно с этим, провинции стали играть важную роль во всех сферах жизни Римского государства. Эти процессы обусловили значительные преобразования в римской армии. Автором установлено, что особенности римской военной системы на Востоке империи – дислокация армейских контингентов, организация обороны границ, снабжение и комплектование воинских подразделений – зависели от внешнеполитической ситуации и комплекса внутриполитических причин. / The dissertation is devoted to evolution of the Roman military-administrative system in the Eastern provinces of the Empire in the first century A. D. During the studied period, Rome was beginning transition from offensive wars to defense of the frontiers. In the same time, the provinces of the Empire began to play a greater role in the state. These processes contributed to transformation of the Roman armed forces, which were evolutionary character. Roman foreign policy activity in the Near East allows suggesting, that this region is the most representative for research of evolution of the Roman military organization in the first century A. D. The author ascertained that special aspects of the Roman military machine in the Eastern provinces of the Empire (dislocation of the armed forces, organization of defense of the frontiers, supply and recruitment of various military units) depended on foreign policy situation and complex of internal political reasons.

No description available.

The main objectives of this diploma thesis are to describe and analyze character of the Roman Emperor Nero, the last member of Iulo-Claudian dynasty, in the historical film, which was made as a part of a series about Roman history. The first part deals with history of the Roman Empire since Gaius Octavius`s arrival to Rome in 44 BC till death of the Emperor Claudius in 55 AD. The second part gives a description of the character Emperor Nero of the Roman Empire. It is believed that it was he who had the whole city of Rome burnt. Other parts of this thesis show analysis of the film Nero, císař římský. Imperium: Nerone (TV film) 2004. It is a comparison of his character from literary to theatrical sources. The last part describes a didactic use of the film. There is a presentation of a model lesson that was created and taught in practice by the author herself. Key words Agrippina History classes Film Historical film Film Imperium: Nerone The Iulo-Claudian dynasty Nero Principate

The diploma thesis deals with the life and reign of Augustus, the first Roman emperor from the Julian-Claudian dynasty, and compares it to the only one television film about this historical figure. In the opening chapter, the author analyses the history of the Roman Empire from 133 BC to the death of Gaius Iulius Caesar in 44 BC. The other part of the thesis deals with the life and the reign of Augustus who influenced the Roman Empire for several decades. The third and the fourth chapter are devoted to the analysis of the historical film Imperium: Augustus and its comparison with the primary and secondary literature. The last chapter deals with applying the sequences of this historical film in history classes in schools.

Avec l'avènement du prince en 27 av. J.-C. s'ouvre à Rome ce qu'on appelle le siècle d'Auguste et qui correspond à une période de révolution à la fois politique, mais aussi culturelle. Auteurs et poètes étaient engagés dans cette réflexion collective sur les fondements de la Ville, son identité, ses rapports avec son prince et ses dieux, I'imperium d'Auguste et les modèles à offrir à la nouvelle génération. La thèse entend étudier la manière dont le poète latin Horace participa non seulement au renouvellement des formes poétiques à Rome, mais aussi à ces réflexions sur le nouus status. Comment la lyrique archaïque grecque qu'il tente d'acclimater à Rome dans ses Odes, mais aussi les mythes grecs qu'il réélabore et fait entrer en résonance avec les enjeux du principat, lui permettent d'évoquer les relations privilégiées de Rome et de son prince ? / With the accession of the princeps in 27 BC, begins in Rome the "Age of Augustus" - a period of political, but also cultural revolution. Authors and poets joined this collective thinking about the foundations of the City, its identity, its relationship with its princeps and its gods, the imperium of Augustus, and the ideals to offer to the new generation... This dissertation aims to analyse how the Latin poet Horace took part not only to the renewal of the poetic forms in Rome, but also to these reflections around the novus status. ln which way the archaic Greek lyric, that he tries to adapt to Rome in his Odes, as well as the Greek mythology, that he recreates to make them echo the challenges of the Principate, make it possible for Horace to conjure the privileged relation ship between Rome and its princeps?

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-01-29T16:46:25Z No. of bitstreams: 2 Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-01T11:54:44Z (GMT) No. of bitstreams: 2 Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-01T11:54:44Z (GMT). No. of bitstreams: 2 Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-12-16 / Abbiamo studiato in questa Tesi di dottorato un aspetto del mito di Enea: la divinizzazione eroica che appare come una promessa dal fatum nei versi della Eneide di Virgilio, poema epico composto tra gli anni 29 e 19 aC. Tra le varie possibilità metodologiche ed ermeneutiche per lo studio di un poema epico, ci concentreremo qui sulla questione della storicità dell'opera, il suo momento di composizione e le risposte ai precedenti epici. Come una epopea eroico-storica, l'Eneide è intesa come documento di complessità inesauribile per studiare il tempo del poeta. Cerchiamo di valutare come le promesse di apoteosi dell'eroe e dei suoi discendenti, Giulio Cesare e Ottaviano, sono collegate nella trama, offrendo alla casa dei principi da cui deriva l'Imperatore Augusto, domus Iulia, ascendenza divina ed eroica. In grado, quindi, di rafforzare la sua posizione di prestigio sociale e politico, mettendo la famiglia imperiale di sopra delle altre famiglie aristocratiche. Il poeta fa Giove promettere all'eroe, figlio di Venere, un tipo di sollevamento ad sidera, allo scopo di ricordare la consecratio/katasterismos di Giulio Cesare la cui anima è stata identificata alla stella che è apparsa nei cieli di Roma alla celebrazione dei Giochi per la Vittoria di Cesare - Ludi Victoriae Caesaris (44 a.C). Ottaviano, a sua volta, è citato come un dio potenziale con un posto riservato nel pantheon romano. Più di una determinazione dello fatum, Virgilio presenta la prospettiva di sollevamento stellare basata sul merito rappresentato sia dalla reputazione e dalla uirtus che sono costruiti nella vita dell'individuo. In concomitanza con l'analisi ermeneutica dello epico, il nostro sforzo metodologico si sviluppa in due direzioni: in primo luogo, facciamo un passo indietro al periodo repubblicano per seguire le tracce dello radicamento di Enea divinizzato nelle leggende di fondazione e nella topografia del Lazio. Inoltre, dalle testimonianze testuali e dalle monete mettiamo in discussione il legame tra l'eroe troiano alla genealogia della famiglia degli Iulii. Nel secondo movimento, al di là del periodo di composizione dell'Eneide, abbiamo cercato di valutare l'investimento nella genealogia troiana e la riappropriazione di temi epici nelle cerimonie, monumenti e sculture del primo secolo. Quindi, abbiamo anche analizzato le appropriazioni dello tema della divinizzazione di Enea da altri autori come Livio, Dionigi di Alicarnasso e, soprattutto, Ovidio nelle Metamorfosi. / We investigate in this Thesis a specific element of Aeneas’ myth: the heroic divinization that appears as a promise of fatum in the lines of the Aeneid, epic poem composed between the years 29 and 19 BC. Among the several methodological and hermeneutical possibilities for the study of an epic, we focus on the problem of the historicity of the work, its moment of composition and the responses to previous epic models. As a heroic-historical epic, the Aeneid is understood as an inexhaustible and complex document for studying the poet's time. We try to assess how the promises of apotheosis of this hero and his descendants, Julius Caesar and Octavian, are linked into the plot, providing to the rulers house, from which comes the Emperor Augustus, Domus Iulia, heroic and divine ancestry. Able, therefore, to strengthen its social and political prestige, putting the imperial family apart from the other aristocratic families. The poet reserves to this hero, son of Venus, one kind of upswing ad sidera in order to recall the consecratio/katasterismos of Julius Caesar whose soul has been identified to star – sidus/astrumv - that appeared in the skies of Rome during the celebration of the Games in Honor of Caesar's Victory - Ludi Victoriae Caesaris (44 a.C). More than a settlement of fatum, Virgil presents the prospect of stellar ascension based on merit represented by the fame and uirtus which are both constructed during the individual's life. Allong with the hermeneutic analysis, our methodological effort unfolds in two directions: firstly, we step back to the republican past to track the rooting of Aeneas deified in the foundation narratives and topography of Latium. Moreover, from textual sources and numismatic evidence, we bring the issue of the constructed link between the Trojan hero and the genealogy of the Iulii. In a second movement, we seek to evaluate the investment in Trojan genealogy and the reappropriation of epic themes by the ceremonies, monuments and sculptural artifacts from the first century AD. Therefore, we analyze the reappropriation of this theme of Aeneas' divinization by the augustan authors, Livy, Dionysius of Halicarnassus and especially Ovid in Metamorphoses. / Investigamos nesta Tese um elemento específico do mito de Enéias: a divinização heroica que aparece como promessa do fatum nas linhas da Eneida de Virgílio, poema épico composto entre os anos 29 e 19 a.C. Buscamos avaliar como as promessas de apoteose do herói e seus descendentes, Júlio César e Otávio, estão concatenadas na trama, conferindo à casa de governantes a qual se liga o Imperador Augusto, domus Iulia, ancestralidade divina e heroica. Capaz, portanto, de reforçar sua posição de prestígio social e político frente às outras famílias aristocráticas. O poeta reserva ao heroi, filho de Vênus, um tipo de elevação ad sidera, de forma a rememorar a consecratio/katasterismos de Júlio César cuja alma foi identificada ao astro – astrum/ sidus - que apareceu nos céus de Roma durante celebração dos Jogos à Vitória de César - Ludi Victoriae Caesaris (44 a.C). Otávio, por sua vez, é mencionado como um diuus em potência, com um lugar reservado no panteão romano. Mais do que uma determinação do fatum, Virgílio apresenta esta perspectiva de ascensão sideral fundamentada no mérito, representado tanto pela fama quanto pela uirtus que são construídas em vida pelo indivíduo. Concomitante à análise hermenêutica do épico, nosso esforço metodológico se desdobra em dois sentidos: primeiramente, recuamos ao passado republicano para rastrear na documentação textual e arqueológica o enraizamento de Enéias divinizado nas narrativas fundacionais e na topografia do Lácio. Ademais, a partir das fontes textuais e da evidência numismática, problematizamos a vinculação do heroi troiano à genealogia familiar dos Iulii. Em um segundo movimento, para além do período de composição da Eneida, buscamos avaliar o investimento na genealogia troiana e a reapropriação de temas épicos nos cerimoniais, monumentos e artefatos esculturais do século I d.C. Por conseguinte, nos debruçamos sobre as reapropriações do tema da divinização de Enéias pelos autores do Principado de Augusto, Tito Lívio, Dionísio de Halicarnasso e especialmente Ovídio nas Metamorfoses.

La restauration de la République conduite par Octavien vit renaître l’activité législative, « florissante » selon les mots d’Ovide (Met., 2.141) « sous la conduite du très juste » Auguste (Met., 5.833). L’association entre Auguste et son oeuvre législative fut telle que parmi les honneurs funèbres, il fut proposé que le nom de chacune des lois figure sur des écriteaux du cortège funéraire. La lex accompagnait Auguste au tombeau. Ses successeurs abandonnèrent progressivement le recours à la lex et quelques décennies après la disparition d’Auguste, la loi recevait comme seule fonction de sanctionner les pouvoirs et honneurs décidés par le Sénat et conférés à l’empereur à chaque début de principat. Cette loi était la dernière traduction formelle de la volonté du populus Romanus : parce qu’elle émanait du peuple et qu’elle établissait un fondement entre le prince et son statut, ses pouvoirs et les activités auxquelles elle donnait lieu, elle retint particulièrement l’attention des Prudents. S’ils constatèrent le bouleversement général des sources du droit que l’enracinement du prince dans l’édifice constitutionnel républicain et le développement de ses interventions normatives avaient entraînés, seule la partie des Prudents que le prince avait associée à l’exercice de sa justice et de sa production normative, amplifia la normativité des formes qu’empruntait la volonté impériale. La formulation de l’identité de la constitution impériale à la lex marqua l’avènement d’un ordre juridique dont la cohérence reposait sur le consensus, non plus des divers organes de la République mais de l’empereur et des Prudents. Le recours à l’autorité de la loi pour caractériser les constitutions impériales leur assurait, au-delà des mutations dont ils surent prendre la mesure, la continuité d’une activité qui s’originait dans les premiers temps de la civitas. / The restoration of the Republic led by Octavian marked a new start of legislative activity, said to be "flourishing" by Ovid (Met.,2.141), "under the leadership of the righteous" Augustus (Met.,2.141). As part of his funeral honours, Augustus being so closely related to his legislative work was made clear when it was suggested that the name of each law were to be inscribed on the banners for the funeral procession. The lex accompanied Augustus to his tomb. Little by little his successors no longer resorted to the lex and a few decades after Augustus decease, the unique function of the law was to acknowledge the powers and honours decided by the Senate and conferred to the Emperor at the beginning of his reign. That law was the last formal expression of the will of the populus Romanus: because it originated from the people and established the basis between the Prince and his status, his power and the activities that rose from it, it particularly caught the attention of the Prudentes. Though they may have noted the general disruption of the sources of the Law, resulting from the normative interventions of the emperor, it was only the part of jurisprudence that the prince had associated with his justice and therefore the production of norms,, that enhanced the normativity of the forms expressing the imperial will. The identity of the imperial constitution formed on the lex was the beginning of a new legal order, coherently based upon the consensus between the emperor and the Prudentes rather than upon the various organs of the Republic. Their resorting to the authority of the Law to characterize the imperial constitutions and their ability to assess change, ensured that an activity that started at the beginning of the civitas could continue.

This thesis deals with portraiture of roman emperors on their statues and coins during the 3rd and 4th century. It begins with accession of military emperors and ends by Constantinian dynasty. The thesis tries to describe the changes in roman imperial portrait and determine its clearer roadmap. Main influences for roman imperial portraits are found together with milestones within the roadmap. It primarily focuses on individual attributes in the portrait and attempts to define ability to identify emperors themselves. Also, it tries to describe the extent to which these attributes influence the ability to identify the emperor on the statue or on the coin. Moreover, the thesis aims to connect imperial propaganda and portrait of the emperor. Finally, the thesis contains brief historical overview of this era. KEYWORDS: Roman Empire, Roman coins, Roman sculpture, portrait, the Military Emperors, crisis, Gallic Roman Empire, principate, dominate, tetrarchy, Gallienus, Aurelianus, Probus, Diocletianus, Constantinus, Julianus Apostata