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<title>Collectanea Philologica T. 25 (2022)</title>
<link href="http://hdl.handle.net/11089/44729" rel="alternate"/>
<subtitle/>
<id>http://hdl.handle.net/11089/44729</id>
<updated>2026-04-21T21:56:40Z</updated>
<dc:date>2026-04-21T21:56:40Z</dc:date>
<entry>
<title>Scypion Afrykański Starszy i hiszpańskie kobiety. Mit continentia Scipionis i jego recepcja w malarstwie weneckim w XVIII wieku</title>
<link href="http://hdl.handle.net/11089/44747" rel="alternate"/>
<author>
<name>Gorzelany-Nowak, Dorota</name>
</author>
<author>
<name>Matusiak, Patrycja</name>
</author>
<id>http://hdl.handle.net/11089/44747</id>
<updated>2022-12-20T02:23:08Z</updated>
<published>2022-12-16T00:00:00Z</published>
<summary type="text">Scypion Afrykański Starszy i hiszpańskie kobiety. Mit continentia Scipionis i jego recepcja w malarstwie weneckim w XVIII wieku
Gorzelany-Nowak, Dorota; Matusiak, Patrycja
Livy and Polybius note that after the conquest of New Carthage, Scipio Africanus the Elder freed Spanish hostages, among whom was Allucius’ fiancée of extraordinary beauty. Not only did Scipio not accept her as a gift, but he summoned her parents and fiancé from her country, returned her to them for free and gave away as a wedding gift the gold intended for her redemption. The motif of the “continence of Scipio”, which was a political strategy aimed at gaining allies and ensuring their friendship with the Romans, was widely reflected in literature, opera and, above all, painting, starting from the sixteenth century. In the article we present works created in the Venetian artistic environment that have not been analyzed before.
</summary>
<dc:date>2022-12-16T00:00:00Z</dc:date>
</entry>
<entry>
<title>Późnoantyczna Tarraco. Kontynuacja i zmiana w przestrzeni miejskiej (III–V wiek)</title>
<link href="http://hdl.handle.net/11089/44746" rel="alternate"/>
<author>
<name>Zimnowodzka, Anna</name>
</author>
<id>http://hdl.handle.net/11089/44746</id>
<updated>2022-12-20T02:23:10Z</updated>
<published>2022-12-16T00:00:00Z</published>
<summary type="text">Późnoantyczna Tarraco. Kontynuacja i zmiana w przestrzeni miejskiej (III–V wiek)
Zimnowodzka, Anna
Established in the 3rd century BCE, Tarraco reached its heyday in the 2nd century (AD). In the second half of the 2nd and at the beginning of the following century, despite the noticeable progressive recession of the city (abandonment of the theater and the nymphaeum, decrease of artistic activities), selected buildings and districts in the city were still flourishing (including the port area, the temple of Augustus and the amphitheater). The process of transformation of the city proceeded slowly, even in the 4th century, when the forum of the colonies was abandoned, some buildings, including the Concilium Provinciae Hispaniae Citerioris, continued to perform their functions. In the 5th century, as evidenced by epigraphy, a part of the square was still used for representative purposes, with the rest of it being replaced by residential buildings. The circus was still in use until the middle of the 5th century. The demolition, in the second half of the 5th century, of the temple of Augustus, which dominated the city, and the gradual erection of Christian basilicas, first outside the city and from the 6th century onwards, also within it, marked the end of an era in the history of the city.
</summary>
<dc:date>2022-12-16T00:00:00Z</dc:date>
</entry>
<entry>
<title>Conexiones culturales entre Roma y Barcino: una visión a través de la iconografía de las lucernas</title>
<link href="http://hdl.handle.net/11089/44744" rel="alternate"/>
<author>
<name>de Frutos Manzanares, Laia</name>
</author>
<id>http://hdl.handle.net/11089/44744</id>
<updated>2022-12-20T02:23:12Z</updated>
<published>2022-12-16T00:00:00Z</published>
<summary type="text">Conexiones culturales entre Roma y Barcino: una visión a través de la iconografía de las lucernas
de Frutos Manzanares, Laia
Roman lamps were one of the few daily-use objects that could have been usually decorated, thanks to the free space they had on their central discuses, offering a wide variety of figurative motifs. Such richness of elements and details permits to study their iconography as a reflection of Roman imaginary and daily life. About Iberian Peninsula, it is possible to observe how the Roman culture and traditions arrived and started to be introduced in this area through the analysis of their decorations.This paper will regard the specific situation of ancient Barcino (Barcelona), a paradigmatic case in respect of the application of that kind of analysis in order to better understand the Roman society that lived there.*Este capítulo se enmarca dentro de la propia tesis en curso, desarrollada gracias a la ayuda PRE2018-084077 financiada por MCIN/AEI/10.13039/501100011033 y FSE “El FSE invierte en tu futuro”. Se enmarca además dentro del grupo CEIPAC (Centro para el Estudio de la Interdependencia Provincial en la Antigüedad Clásica) de la Universidad de Barcelona, y de UBICS (Universitat de Barcelona Institute of Complex Systems). Financiada también por los proyectos: Relaciones Interprovinciales en el Imperio Romano. Producción y comercio de alimentos hispanos (Provinciae Baetica et Tarraconensis) (HAR2017-85635-P) 2017–2020; Centro para el Estudio de la Interdependencia Provincial en la Antigüedad Clásica (CEIPAC) (2017 SGR 512). 2017–2020; Projecte de Recerca Quadriennal 2018–2021 GENCAT Exp.27-CLT009|18|00045: “Dinàmiques socioeconòmiques del món rural romà: formes de l’hàbitat i cultura material al litoral central català” – Projecte Cella Vinaria- de la Universitat de Barcelona. 2018–2021”.
</summary>
<dc:date>2022-12-16T00:00:00Z</dc:date>
</entry>
<entry>
<title>Becoming Roman? Two-Sided Stelae in Lucus Augusti and its Hinterland</title>
<link href="http://hdl.handle.net/11089/44745" rel="alternate"/>
<author>
<name>Gómez García, Natalia</name>
</author>
<id>http://hdl.handle.net/11089/44745</id>
<updated>2022-12-20T02:23:28Z</updated>
<published>2022-12-16T00:00:00Z</published>
<summary type="text">Becoming Roman? Two-Sided Stelae in Lucus Augusti and its Hinterland
Gómez García, Natalia
In this article we analyze the two-sided stelae of Lucus Augusti and its hinterland, unique pieces throughout the Roman Empire, with the aim of compiling the information we have about them and analyzing them from the perspective of postcolonial romanization theories. To this end, Bourdieuʼs theory of habitus is fundamentally used, understanding habitus as a generator of principles of social behavior. The use of the toga in the representations of these stelae and their link with Roman citizenship are key to understanding who commissioned these funerary monuments, as well as the correct interpretation of the themes on the reverse provide us with new data. The analysis of the granite blocks allows us to know that they were not large stelae or with an epigraphic text that is now lost, but that it was a conscious choice which they did not have text rather images on both sides. The two-sided stelae are the reflection of a local custom, that is, part of a new hybrid culture: the provincial Galician-Roman culture.*This article was supported by a PhD fellowship from the Spanish Ministry of Universities called “Ayudas para la Formación de Profesorado Universitario” (FPU19/00148). This research was conducted within the framework of the R+D+i project “Nuevas bases documentales para el estudio histórico de la Hispania romana de época republicana: ciudadanía romana y latinidad (90 a.C. – 45 a.C.)” (PID2019-105940GB-I00) (4 years).; En este artículo analizamos las estelas bifrontes de Lucus Augusti y su hinterland, piezas únicas en todo el Imperio Romano, con el objetivo de recopilar la información que se tiene de ellas y analizarlas desde la perspectiva de las teorías de la romanización postcoloniales. Para ello, se emplea fundamentalmente la teoría sobre el habitus de Bourdieu, entendido el habitus como generador de principios del comportamiento social. El empleo de la toga en las representaciones de estas estelas y su vinculación con la ciudadanía romana son claves para entender quién encarga estos monumentos funerarios, así como la correcta interpretación de los temas del reverso nos aporta nuevos datos. El análisis de los bloques de granito permite saber que no fueron estelas de grandes dimensiones o con un texto epigráfico hoy perdido, sino que fue una elección consciente que no tuviesen texto, pero sí imágenes a ambos lados. Las estelas bifrontes son el reflejo de una costumbre local, es decir, parte de una nueva cultura híbrida: la cultura provincial galaico-romana.
</summary>
<dc:date>2022-12-16T00:00:00Z</dc:date>
</entry>
</feed>
