The sepulchral monuments of Noricum and Pannonia dating to the Antonine - Severan period (and later), particularly the aediculae, are characterised by abundant mythological decoration. The central ...mythological scene of a more or less detailed mythological apparatus is one of the three key ingredients used in presenting the deceased or their families, the other two being the portraits and the inscription tablet (all of them placed on the front facade of the monument). The choice of the mythological scenes is guided by the two basic art themes found on Roman sepulchral monuments - death, consolation, and mourning, and, on the other hand, homage to the deceased and his virtues, or mourning and farewell. Both themes correspond to the topoi of funeral poetry and rhetoric. The choice of the individual myths reveals differences between the sarcophagi of Rome and the products of Noricum or Pannonia, as well as between the products of Noricum and of the Pannonian centres.
From the first reference to Romulus by Alcimus, a historian from the mid-fourth century BC, where the hero appears alone, down to the age of Augustus, the story of the foundation of Rome underwent ...considerable plot changes. The two most important are, firstly, Romulus' later role not merely as a conditor urbis, but - in keeping with the Hellenistic tradition of ktiseis poleon - mainly as a creator gentis and a model of the new Roman, who can subsequently embody a new ethnic identity; and, secondly, the later dichotomy of the founders. The interpretation of the Roman foundation myth must be therefore closely associated with the symbolism of numbers - one founder as opposed to twin founders - as it is reflected in different socio-political and historical contexts. In addition to shaping society, myth also documents all its changes. In the context of replacing a single founder with twin founders, Romulus and Remus, the first critical change is the introduction of Remus. The twin founders imply a double community, a notion which becomes meaningful in Rome only after the plebeian achievement of political equality between 367 and 342 BC. The second significant change is the death of Remus, involving the notion of a foundation sacrifice, for which the evidence points to the crisis of 296 BC. The foundation story also serves as an explanation model for the events in the Late Roman Republic. Horace's pessimistic Seventh Epode evokes the foundation crime of fratricide to explain the tragic pattern of civil wars. As Romulus' successors, the Romans are also heirs to his crime, to the scelus fraternae necis, from which they cannot escape. Moreover, Romulus as a creator gentis represents a potential source for the Roman change of identity, which was regarded as coincidental with the foundation act. This recurring theme is elaborated first in Ennius' Annals and later in Vergil's Aeneid and Horace's Third ‘Roman Ode’. The central motif is Ennius’ concilium deorum and its discussion of Romulus' apotheosis, which is opposed by Juno on account of his Trojan identity. Juno, the traditional mythological opponent of the Trojans, demands in exchange for Romulus' apotheosis a break with the old Trojan concept. This break is to be reflected in a new name for the city, which shall be named after its founder, chosen by the auspicium contest. The auspicium thus represents the divine election of the Trojans' legitimate successors, while Romulus' apotheosis symbolically fulfils the idea of a cosmic Roman empire predicted in Juno's Roman Ode speech. The two mythological exempla of Troy and Romulus serve as two opposing models, Troy being the eastern, un-Roman principle, and Romulus the embodiment of the Roman principle. In effect, they present the conflict of two different value systems, which is based on moral criteria and a negative characterisation of the eastern principle. These models are intended to guide the political, ideological and moral assessments of Augustan readers faced with watershed historical events. The contemporary allusions can hardly escape an attentive modern reader. The main characteristic that defines the Roman foundation story as a myth is precisely its sensitivity to social and political changes - a prerequisite for its transmission and continuity, as well as an indicator of its social relevance at different moments in history.
Glavni cilj doktorskog rada je opis dvojnosti, karakteristike neraskidivo povezane s Kentaurima, Faunima, Dionizom, Bakhanticama, Glaukom i ostalim drugorazrednim božanstvima grčko-rimske mitologije ...u poeziji deset francuskih književnika 19. st. Nakon što smo objasnili simboliku ovih dualnih i mitoloških bića u antičkim okvirima, osvrnuli smo se i na književne obrade i interpretacije kojima su u francuskom pjesništvu bili nadahnuće što je rezultiralo novim spoznajama o dualnosti koja ne ostaje vezana isključivo za pjesnike i junake njihovih njihovih poema, već kao osobina svakog čovjeka, rastrganog svojim određenim dilemama i sukobima, predstavlja sliku opće ljudske dualnosti. Konačno, analiza je pokazala kako su pojedini pjesnici parnasa poput Banvillea, Leconte de Lislea, Heredije i njihovog duhovnog oca s kraja 18. st. Chéniera tematizirali ova antička božanstva manje-više iz estetskih razloga, dok je inspiracija ovim likovima u poeziji romantizma (Guérin, Hugo), dekadencije (Laforgue) i simbolizma (Régnier, Rimbaud, Verlaine, Mallarmé) uglavnom psihološke prirode.
The main aim of the dissertation is to describe duality, a characteristic inextricably linked with Centaurs, Fauns, Dionysus, Bacchantes, Glaucus and other second-rate Greco- Roman gods in the poetry of ten 19th century French writers. Having explained the symbolism of these dual and hybrid mythological creatures in antique frames, we focused on literary processing and interpretation they inspired in 19th century French literature which resulted in new findings on the duality that does not remain exclusively tied to poets and heroes of their poems, but as an every-man's feature, torn by self-contradictions and dilemmas, presents a picture of general human dualism. Eventually, the analysis showed that some Parnassian poets like Théodore de Banville, Charles-Marie Leconte de Lisle, José-Maria de Heredia as well as their spiritual father from the very end of 18th century André Chénier thematized these ancient deities more or less for aestetic reasons, while the inspiration for these characters in the poetry of Romanticism (Maurice de Guérin, Victor Hugo), the Decadent Movement (Jules Laforgue) and Symbolism (Henri de Régnier, Arthur Rimbaud, Paul Verlaine, Stéphane Mallarmé) comes from dual nature of these writers.
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