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27 p. -- Bibliogr.: p. 26-27 [ES] El objetivo de este TFG es investigar la representación y recepción de Agripina la Menor a través de las diferentes tradiciones del cómic: la estadounidense, la franco-belga y la japonesa. Estas representaciones se analizan a través de la lente de los estudios de recepción de la cultura clásica grecoromana, y su intersección con los estudios sobre el cómic y la narratología. Planteamos este objetivo analizando, por un lado, el papel de la mujer en el I d.C. y su representación en las fuentes clásicas y, por el otro, su recepción en el cine, TV y, más en concreto, a través de los diferentes formatos del cómic. Es interesante poner el foco en el cómic ya que se presupone que los autores que se ocupan de los temas clásicos ofrecen reinterpretaciones, dentro de la ficción histórica, que mantienen un fuerte grado de fidelidad a sus fuentes. [EN] The aim of this paper is to investigate the representation and reception of Agrippina the Younger through different comic traditions: American, Franco-Belgian and Japanese. These representations are analyzed through the lens of the Classical Reception Studies, and their intersection with comic studies and narratology. We set this goal by analyzing, on the one hand, the role of women in the 1st century AD and their representation in classical sources and ,on the other hand, their reception in film, TV and more specifically through the different traditions and formats of comic. It is interesting to put the focus on the comic there, because it is supposed that the modern authors who deal with classical themes offer reinterpretations, within historical fiction, with a high degree of fidelity to their sources.

À la fin de l’année 48 apr. J.-C., l’empereur Claude résolut d’épouser sa nièce Agrippine. Ce mariage transgressait cependant les normes traditionnelles de l’inceste à Rome. Pour ne pas être considéré comme un tyran assouvissant ses caprices sans aucune retenue au risque de mettre en péril la cité, Claude manœuvra de façon à ce que ce mariage parût résulter de la volonté unanime du Sénat et du Peuple, et obtint le vote d’un décret autorisant une telle union. Claude se conformait ainsi au modèle du ciuilis princeps respectueux des normes et institutions traditionnelles, ce qui lui permit de faire reconnaître par tous sa prééminence au sein de la res publica et donc de légitimer son pouvoir. En effet, les mariages incestueux comme celui-là étaient caractéristiques des dynasties royales étrangères qu’ils contribuaient à distinguer du reste des populations. Claude obtenait donc d’être reconnu lui aussi comme un monarque extra-ordinaire, au-dessus des autres citoyens. At the end of the year 48 A.D., the emperor Claudius decided to marry his niece Agrippina. However, this marriage broke Roman traditional norms about incest. To not be considered as a tyrant satisfying his whims without any restraint and at the risk of endangering the city, Claudius maneuvered so that this marriage seemed to result from the unanimous will of the Senate and the People, and he obtained the vote of a decree authorizing such a union. Claudius thus conformed to the model of the ciuilis princeps respectful of traditional norms and institutions, which allowed him to have his pre-eminence within the res publica recognized by all, and so to legitimate his power. Indeed, such incestuous marriages were typical of foreign royal dynasties, which they helped to distinguish from the populations. Claudius thus got to be recognized himself as an extra-ordinary monarch, far above other citizens.

At the end of the year 48 A.D., the emperor Claudius decided to marry his niece Agrippina. However, this marriage broke Roman traditional norms about incest. To not be considered as a tyrant satisfying his whims without any restraint and at the risk of endangering the city, Claudius maneuvered so that this marriage seemed to result from the unanimous will of the Senate and the People, and he obtained the vote of a decree authorizing such a union. Claudius thus conformed to the model of the ciuilis princeps respectful of traditional norms and institutions, which allowed him to have his pre-eminence within the res publica recognized by all, and so to legitimate his power. Indeed, such incestuous marriages were typical of foreign royal dynasties, which they helped to distinguish from the populations. Claudius thus got to be recognized himself as an extra-ordinary monarch, far above other citizens.; À la fin de l’année 48 apr. J.-C., l’empereur Claude résolut d’épouser sa nièce Agrippine. Ce mariage transgressait cependant les normes traditionnelles de l’inceste à Rome. Pour ne pas être considéré comme un tyran assouvissant ses caprices sans aucune retenue au risque de mettre en péril la cité, Claude manœuvra de façon à ce que ce mariage parût résulter de la volonté unanime du Sénat et du Peuple, et obtint le vote d’un décret autorisant une telle union. Claude se conformait ainsi au modèle du ciuilis princeps respectueux des normes et institutions traditionnelles, ce qui lui permit de faire reconnaître par tous sa prééminence au sein de la res publica et donc de légitimer son pouvoir. En effet, les mariages incestueux comme celui-là étaient caractéristiques des dynasties royales étrangères qu’ils contribuaient à distinguer du reste des populations. Claude obtenait donc d’être reconnu lui aussi comme un monarque extra-ordinaire, au-dessus des autres citoyens.

By examining material and literary sources related to the most notable points of Nero’s reception, we can understand how formerly benign aspects of the Neronian narrative contributed to his characterization as a “bad emperor.” Scholars have long questioned the myth of Nero as a villain. A balanced reading of the primary sources that describe his reign, such as Tacitus, Suetonius, and Cassius Dio, instead reveals a mediocre emperor unequipped to manage the complicated political situation he inherited. More recently, analyses of the material and literary evidence produced by Nero and his regime have highlighted the logic behind actions once considered symptoms of his madness. The Flavians and later ancient writers manipulated aspects of Neronian narrative to exaggerate the scope of his perceived crimes against the Roman people.I assess the immediate reception of literature, coinage, and architecture of Nero’s reign to demonstrate how later sources influenced impressions of Nero’s actions and policies. I have chosen five of the most notable people or events from his life: Seneca, Agrippina, the Domus Aurea, the Greek Tour, and Nero’s death. I analyze Seneca and Agrippina through the lens of the Octavia, a play so far little considered in studies of Nero’s reception. As one of the first reactions to Nero’s Principate, it offers us a valuable impression of how the narrative of his early reign, embodied by Seneca’s monograph De Clementia and coinage featuring Agrippina, was refitted to suit the myth of Nero as a villain. Next, I focus on Nero’s innovations in public representation. The Domus Aurea represents a revolutionary new approach to Imperial architecture and the use of space within the city of Rome. The Greek Tour was an effort on Nero’s part to consolidate Rome’s interests in the Near East. Certain aspects of both the palace and the tour, however, are magnified to personify Nero as a megalomaniacal and delusional figure. These negative interpretations converge in the narrative of Nero’s death, in which he is characterized as foolish and cowardly. In retrospect, Nero’s official imagery becomes damning in the context of a narrative created by his successors.

Denne oppgaven tar for seg organiseringen av arv innenfor det Julio-Claudiske dynastiet. Gjennom en rekke tiltak, stiger statusen til kvinnene i keiserfamilien til de høyder at den siste keiseren, Nero, like ofte ble hedret gjennom sin mors herkomst som sin fars. Augustus hadde selv ingen mannlige biologiske avkom, og på grunn av dette måtte alle som kom etter spore sin tilknytning til han gjennom kvinner. Dette er langt fra den typen status og omdømme en kvinne før keisertiden kunne kreve, med unntak av én spesifikk gruppe kvinner. Vestalinnene, prestinnene som tilber og vokter Vesta og hennes flamme, har alltid holdt en unik posisjon i det romerske samfunn på grunnlag av flammen de voktet. Denne flammen ble sett på som essensiell for Romerrikets overlevelse og velstand. Gjennom direkte og indirekte tilknytning til vestalinnene, og gjennom andre metoder, ser vi at disse kvinnene i seg selv overlevde i romernes minne som legitime kanaler for makt.

This article discusses the death of the Roman emperor Claudius, which occurred at the ides of October 54 A. D. The testimonies of ancient authors about this episode are being analyzed, the conclusions of contemporary scholars based on those written records are being presented and probably, the most interesting part of this research rests in the displaying and discussing of the opinions and approaches of medical specialists, to which this case is also of interest., Acest articol aduce în discuție moartea împăratului roman Claudius, petrecută la idele lui octombrie 54 d. Hr. Sunt analizate mărturiile autorilor antici cu privire la acest episod, sunt prezentate și concluziile la care cercetătorii contemporani ajung după ce supun aceste scrieri antice la diverse grile de cercetare și, în cele din urmă, poate că cea mai interesantă parte a acestui studiu constă în prezentarea și discutarea opiniilor și a abordărilor medicilor specialiști care se apleacă și ei asupra decesului împăratului Claudius., Șteflea Corina-Ruxandra. Moartea unui împărat roman: despre cazul lui Claudius / The death of a Roman Emperor: The case of Claudius. In: Hiperboreea. Journal of History, vol. 1, N°1, 2014. pp. 28-46.

À la fin du texte, le sénat rend grâce à chacun des membres de la domus Augusta. L'étude de l'ordre de cette liste, des motivations données, des qualificatifs attribués à chacun permet de caractériser la représentation qu'on veut donner de cette domus et de mieux comprendre le début du conflit entre Tibère et la veuve et les enfants de Germanicus, et le rôle de Livie. Al final del texto, el Senado da gracias a todos los miembros de la domus Augusta. El estudio del orden de esta lista, los datos de las motivaciones, los calificativos asignados a cada uno permiten caracterizar la representación que quieren dar a esta domus y comprender mejor el inicio del conflicto entre Tiberio y la viuda y los niños de Germánico, y el papel de Livia. At the end of the text, the Senate gives thanks to all the members of the domus Augusta. The study of the order of this list, the information of the motivations, the epithets assigned to each one allow to characterize the representation that they want to give to this domus and to understand better the beginning of the conflict between Tiberius and the widow and the children of Germanic, and Livia's paper.

En este texto se analizan los ejemplos de Livia y Agripina la menor, cuyas biografías pueden mostrar cómo las mujeres se sirvieron del rol materno para intervenir en asuntos públicos. Sus vidas son relevantes porque emergen en un momento de profundos cambios en la Roma antigua, como fue la época de Augusto, quien estableció un poder dinástico en la sociedad romana. Por primera vez, en la historia occidental emergen atractivos y poderosos personajes femeninos que se implican en la gestión de los asuntos públicos y lo hacen desde su posición de madres. Sus actuaciones no dejaron de provocar ciertos recelos y temor, ya que su intromisión en espacios tradicionalmente masculinos suponía una inversión de roles, que podía poner en peligro el modelo social, claramente defensor de la primacía de los varones. En este ambiente han de comprenderse las imágenes del poder femenino que representaron, entre otras mujeres de su tiempo, Livia y Agripina; una influencia que se percibía como peligrosa, y que ha nutrido representaciones de las mujeres poderosas hasta etapas bien recientes. This paper analyzes the cases of Livia and Agrippina the Younger, whose biographies can show how women took advantage of their maternal role in order to intervene in political issues. Their lives are relevant because they lived in a period of deep changes in Ancient Rome; in particular, the time of Augustus, who established a dynastic power in Roman society. For the first time in Western history, there stood out powerful and attractive female figures that became involved in the management of public issues, and they did so from their position as mothers. Their behavior provoked fear and distrust, as their intrusion on spaces that had been traditionally deemed as masculine implied a case of role-reversal that could endanger the social model, clearly designed in defense of male superiority. In this environment, Livia and Agrippina, among other women of their period, offered the image of female power, an influence that was perceived as being dangerous, but that has also been used in representations of powerful women till recent times

The funerary relief with portraits of a family, placed in Mantua about 1660-70 and perhaps acquired in Venice by the Duke Carlo II Gonzaga Nevers, is a work by a clever sculptor of Este but influenced by the Altino's art. Dating in Tiberius 's late kingdom. L'edicola funeraria a ritratti, portata a Mantova intorno al 1660-70 e forse acquistata a Venezia dal duca Carlo I Gonzaga Nevers, appare opera atestina influenzata dall'arte altinate databile alla tarda età tiberiana.