Safran Publishers

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Dendour is a tiny but very interesting temple made by emperor Augustus in the Dodekaschenos, in the south of Egypt, next to the frontier with Nubia. Now, it is in the Metropolitan Museum of Art of New York, USA because it was given to the American government as thanks for help in the Aswan project. It is dedicated to two drowned brothers, venerated as “saints” by the local people. The scenes show these young men (but also divinities particularly venerated in Nubia) honorated by Augustus who give them local goodies as gold, incense, ivory…The cartouche of the king are interesting: some contain his name of pharaoh but some only the title Per- aha. The localisation of these cartouches seems to be not free: it could be an expression of political message of Augustus in this area what suffer of many conflicts and revolts involving Roman Empire and Nubian sovereigns as the queen “Candace”.

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Néron et le "De clementia" de Sénèque, racine ou rupture ?

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At the same time Seneca is the thinker of the government over which the last prince Julio-claudian reigns, and the thinker of the « new » political designation should thus be given to translate the concepts invented by him for Nero’s reign. The Nero’s tutor has been expressed through three types of discourse – one philosophical, one political and a satirical theatrical work. All of them consist of a continous meditation on power. One book emerges from this polyphonical and political discourse ; the De clementia, founding pillar of both the new princely ideology and the shift to the political action of the concepts embodied in the person of Nero. The De clementia gives the impression of being both consistent with the political values developed by the Ancients, and the thought of a new political era. Then, can we consider the De clementia as a root or, alternatively, as a rupture ?

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Les métamorphoses animales des divinités dans la Méditerranée antique

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Looking for the authenticity of the sacred one may find out that the first human’s gods could often take the animal form. Since the prehistoric times, human beings worshipped wild animals and represented them in art with care and precision. During the Antiquity, even the most anthropocentric streams of philosophy couldn’t impede the survival of these popular beliefs. Some peoples, like ancient Egyptians, developed a very sophisticated zoomorphic pantheon. Greece and Rome testified a high level of the animal symbolism in mythology and divination. As for the Asia Minor, according to the old traditions, the idea of the wild nature couldn’t be separated there from the perception of the realm of the gods. This paper gives an approach to some historical evidences of god’s metamorphoses into animals and tries to examine the origins of these beliefs in the ancient Mediterranean world.

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"Referre, revocare, restituere". Forme e significati dell’urbanistica nella Roma di fine I sec. d.C.

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L’article de Marco Cavalieri a pour objet la politique urbanistique à Rome à l’époque de l’empereur Domitien. Partant du présupposé que l’action évergétique du souvrain est toujours le résultat de la rencontre entre exigences du pouvoir et du consentement populaire, le texte prend en considération toutes les interventions architectonico-urbanistiques les plus connues voulues par Domitien, cherchant à en comprendre de manière plus approfondie les motivations et les buts idéologiques. Les conclusions auxquelles il arrive mettent en évidence un projet de rénovation de l’aspect urbanistique de la ville fondé sur les nouvelles exigences du dominatus : d’un côté, l’exaltation de la figure du souverain au moyen d’une politique dynastique et triomphaliste, de l’autre un nouveau centre de concentration politique, le Palatium. Comme conséquence à tout ceci, la démagogie toujours attentive du panem et circenses.

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Les techniques d’éloge dans les Panégyriques Gaulois

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The collection of Gallic panegyrics is composed of speeches given during the 3rd and 4th centuries AD on the glory of leaders of the Roman Empire. The authors, native Gallic rhetors, devote a considerable portion of their speeches to the account of the princes’ struggles against disturbers of Roman order, whether in the form of internal rebellion, invasions from beyond the limes, or attempted usurpations. Based on a corpus of three panegyrics pulled from this collection, the present article focuses on displaying, through the accounts of combat against the Empire’s adversaries, the techniques of princely eulogy implemented by the orators in the outline of both their content and their form. These methods, supported by the appropriate stylistic artifices, can be divided into three orientations : exalting the qualities and actions of the laudandus, hiding his defaults and less honourable actions and disparaging his opponents.

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