Nero, Emperor and Tyrant, in the Medieval French Tradition
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Notice bibliographique
Résumé
Nero ruled the Roman Empire from 54 to 68 CE, bringing to an end the Julio-Claudian dynasty. Perversely attractive and also thoroughly abhorrent, he evoked both positive and negative images. According to a popular saying, Nero fiddled while Rome burned; as Tacitus, Suetonius, and Cassius Dio recorded, he is reputed to have watched the fire from a high tower, reciting, perhaps to a lyre accompaniment, his own composition about the fall of Troy. This diverting performance exemplifies his propensity for spectacle and theatricality, characteristic of his style of rule. The artistic achievements of the emperor, both as patron and promoter of the arts and as actor, musician, and charioteer — glorified in some of his last words, “Qualis artifex pereo!” (What an artist dies in me!) — are, however, overshadowed by the image of Nero as the cruel tyrant who displayed extraordinary munificence, sought and needed flattery, indulged all his instincts unrestrainedly, and was deluded by his own acting in the imperial role, abusing the freedom of power he claimed. He wished to excel and, as Miriam T. Griffin notes, “he pursued the image of [. . .] the magnificent monarch, rather than that of the civilis princeps.” At least during his first quinquennium, 54-58 CE, when his advisers, Seneca and Burrus, had effective control, political order prevailed. By the time of the great fire of Rome, in 64 CE, for which, as history has shown, Nero was not personally responsible, he had been involved in the death of the emperor Claudius, his step-father, whom he succeeded, had ordered the deaths of his step-brother Britannicus, his mother Agrippina, and Octavia, his wife and step-sister, and had had senators and patricians put to death for their wealth or their potential threat to his unbridled power. In 65 CE, possibly to divert attention from his own unpopularity, he instigated the persecution of Christians in Rome. This led to the execution of the apostles Peter and Paul.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle