The Darkness of Man: a Study of Light and Dark Imagery in Seneca's
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Notes on Seneca's Trojan Women for Vce Students
NOTES ON SENECA’S TROJAN WOMEN FOR VCE STUDENTS Betty Gabriel-Jones Seneca’s Trojan Women, is, like most of his plays, modelled on a Greek original, Eurip- ides’ Women of Troy. However, he brings a distinctly Roman attitude to his plays, an attitude no doubt at least partly formed by a life led in and around the courts of the Julio-Claudian emperors. Seneca thrived under Tiberius, fell out of favour with Caligula, returned to Rome on Caligula’s death, was exiled by Claudius, then recalled, became influential at the court of Nero (indeed was probably the second most powerful man in Rome, after the emperor) and was eventually sentenced to death by Nero. This eventful and, one assumes, stressful life surely played a part in his somewhat pessimistic view of life. It is hard to see how this could not be the case. After all, his protégé, Nero, murdered his own stepbrother, his stepsister/wife and his mother Agrippina. His second wife, whom he supposedly loved, he kicked to death in a drunken rage. Witnessing such events, even if one were not involved, would not lead one to see life as a sunny, cheerful affair. And Seneca was not uninvolved. He was no innocent, and may even have condoned the killing of Agrippina; certainly he composed a speech for Nero in which he justified his action. In addition to all this, Seneca lived in a Rome where bloody and murderous games were the staple entertainment of the masses. By philosophy, Seneca was a stoic—that is to say, he advised a life designed around ra- tional behaviour, modesty, and discipline. -
AGAMEMNON PROLOGUE: Lines 1-39
AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit. -
CLAS 4000 Seminar in Classics on Seneca's Thyestes and LATN 4002 Roman Drama
CLAS 4000 Seminar in Classics on Seneca’s Thyestes and LATN 4002 Roman Drama http://myweb.ecu.edu/stevensj/CLAS4000/2016syllabus.pdf Prof. John A. Stevens Spring 2016 Office: Ragsdale 133 [email protected] Office Hours: TTh 11-1:30 and by appt. (252) 328-6056 Objectives. Upon completion of this course, you will be able to: • Situate Senecan tragedy in the contexts of Roman literature, history and political philosophy • Analyze the elements of Roman Stoicism present in Seneca’s Thyestes • Characterize contemporary literary approaches to the play • Evaluate the play’s literary and philosophical elements as an integral whole Writing Intensive (WI) CLAS 4000 is a writing intensive course in the Writing Across the Curriculum Program at East Carolina University. With committee approval, this course contributes to the twelve-hour WI requirement for students at ECU. Additional information is available at: http://www.ecu.edu/writing/wac/. WI Course goals: • Use writing to investigate complex, relevant topics and address significant questions through engagement with and effective use of credible sources; • Produce writing that reflects an awareness of context, purpose, and audience, particularly within the written genres (including genres that integrate writing with visuals, audio or other multi-modal components) of their major disciplines and/or career fields; • Understand that writing as a process made more effective through drafts and revision; • Produce writing that is proofread and edited to avoid grammatical and mechanical errors; • Ability to assess and explain the major choices made in the writing process. • Students are responsible for uploading the following to iWebfolio (via Courses/Student Portfolio in OneStop): 1) A final draft of a major writing project from the WI course, 2) A description of the assignment for which the project was written, and 3) A writing self-analysis document (a component of our QEP). -
Getting Acquainted with the Myths Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way. -
Invincible Jumpchain- Compliant CYOA
Invincible Jumpchain- Compliant CYOA By Lord Statera Introduction Welcome to Invincible. Set in the Image comic book multiverse, this setting is home to older heroes and villains like Spawn, The Darkness, and The Witchblade. This story, however, focuses on the new superhero Invincible (Mark Grayson), the half-breed Viltrumite-Human hybrid and son of the world famous hero Omni-Man (Nolan Grayson). Invincible spends the beginning of his career working alongside the Teen Team, and with his father, to defend not only Baltimore but the Earth from many and varied threats. Little does he know that his father, rather than being an alien from a peace loving species, is actually a harbinger of war to the planet Earth. Viltrumites are actually a race bent on conquering the universe, one planet at a time. And with their level of power, not much can stop them. Fortunately, there is one secret the Viltrumite Empire has been hiding. Over 99% of the Viltrumite population had been wiped out using a plague genetically engineered by scientists of the Coalition of Planets, they are forced to wage a proxy war using their servant races against the Coalition, all the while sending individual Viltrumites out to take one world at a time, in their attempt to conquer the stars. As humans are the closest genetic match for the Viltrumite race outside of another Viltrumite, the remnants of this mighty alien race turn their sights on Earth in the hopes of using it as a breeding farm to repopulate their race. To help you survive in this universe, here are 1000 Choice Points. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
Massive Darkness Rulebook
RULES & QUESTS MASSIVE DARKNESS - RULES CHAPTERS GAME COMPONENTS ................... 3 ENEMIES’ PHASE........................ 28 Step 1 – Attack . 28 STORY: THE LIGHTBRINGERS’ LEGACY......... 5 Step 2 – Move . 28 SETUP ............................ 6 Step 3 – Attack . 28 Step 4 – Move . 28 GAME OVERVIEW ..................... 11 EXPERIENCE PHASE ....................... 31 BASIC RULES . 12 EVENT PHASE.......................... 32 ACTORS............................... 12 END PHASE ........................... 33 ZONES ............................... 13 COMBAT.......................... 33 SHADOW MODE.......................... 13 COMBAT ROLL ......................... 33 LINE OF SIGHT .......................... 14 Step 1 – Rolling Dice . 33 MOVING .............................. 15 Step 2 – Resolve The Enchantments . 34 LEVELS AND LEVEL TOKENS .................. 15 Step 3 – Inflict Pain! . 35 COMBAT DICE........................... 16 MOB RULES ........................... 36 HEROES ........................... 17 ADDITIONAL RULES ................... 37 HERO CARD ............................ 17 ARTIFACTS............................ 37 HERO DASHBOARD ........................ 17 OBJECTIVE AND PILLAR TOKENS .............. 37 CLASS SHEET ........................... 18 STUN ............................... 37 EQUIPMENT CARDS ................... 19 STORY MODE .......................... 38 COMBAT EQUIPMENT ...................... 19 Experience And Level . 38 Event Cards . 38 ITEMS .............................. 20 Inventory . 38 CONSUMABLES ........................ -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Wonder, Space, and Place in Pausanias' Periegesis
Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados by Jody Ellyn Cundy A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Classics University of Toronto © Copyright by Jody Ellyn Cundy 2016 Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados Jody Ellyn Cundy Doctor of Philosophy Department of Classics University of Toronto 2016 Abstract The Periegesis Hellados presents a description of the sites and sights of Roman Greece in ten carefully constructed books. These books present the fruits of author’s extensive travels and careful textual research over the course of several decades (between the 130’s and ca. AD 175-80) and compiled into a unified composite itinerary. There is no doubt that Pausanias travels through an “already written landscape,” and his travel experience is necessarily informed by and sometimes clearly motivated by his literary encounters. This project investigates Pausanias’ engagement with literary antecedents, with a particular focus on the antiquarian impulse to excerpt and compile anecdotes in thematic catalogues, which broadly resemble wonder-texts (paradoxographies). The organizing principle of these thematic catalogues contrasts with the topographical (spatial) structure of the frame narrative of the Periegesis. In part, this study aims to resolve the perceived tension between the travel account and the antiquarian mode in Pausanias’ project in order to show that they serve complementary rather than competing ends. Resolution of these competing paradigms allows in turn for a more coherent understanding of the Periegesis as unified subject. This study argues that wonder (thauma) is a unifying theme ii of Periegesis Hellados. -
Thyestes, Acts 1 and 2
Archived at the Flinders Academic Commons: http://dspace.flinders.edu.au/dspace/ Daalder, J. (Ed.). (1982). Thyestes (J. Heywood, Trans.) (New Mermaids series). London: Ernest Benn Limited. Copyright (1982) Ernest Benn Limited. Published version of the text reproduced here with permission from the editor and the publisher. Personal use of this material is permitted. that to reprint/republish this material for Please note advertising or promotional purposes, or for creating new collective works for resale or redistribution to servers or lists, or to reuse any copyrighted component of this work in other works, permission must be obtained from the editor and the publisher. I vi SE~ECAIHEYWOOD If L. A N. S e N E C A E CHORVS. Anaporfrici,pra-ur unum & alrcrum Adonlum. vo tm.trurn,{uprrionq; parrns, Q Cuius ttd ort us noCl1s opac~C Dtc~M omnr fogit,quo Ut'rtls rtt"rf J..'itdioq; dmn pnd1s Olympof Cur Phcxbe tuos .rapls aJPcCl~Mf :Nondum {ru.nuntiuf bor~C N ott urn auocat .lumina urjptr. ·.~~ fa)cnrra rnhtulrb ~hp~ Non®m Htf1mi.~:flrxur~t rot~ rftrs fdUbfullr 4'n;h1 Jubtt cmrricos {olun-e CU7Tu5. (brb bP }afprr ""'~ :N ond&~m in r.oflrm urrgrntr die tDool' frlfotut of Tttti.t mifit buccin11 fignum. 3:1Coln£ .Cob Stupct ad {ubit~C ttmpord cCXM lcgt Non dum fofTu bub~M 4Tdtor. CR _,JfOJble QEid tt td'rtio ptpulit c:ur{u! Qg.c C.tU{4 tUOJ finUtt CrTtO Driedt equosfnunquid dperto IMPRINTED AT Cdl'ure DitJ) uiCli,trntztnt konbon an 1lrtrftncc BeUd gigdntcstnunquid Tit''" an tbr bf»ae lata Pettore fiffo rrncuat uetms C[bomae 15tr:; Saucitu ir.t~fnum reidlo r~dcUt8. -
Highly Sensitive Poisoning-Resistant Optical Carbon Dioxide Sensors for Environmental Monitoring Cite This: Anal
Analytical Methods View Article Online PAPER View Journal | View Issue Highly sensitive poisoning-resistant optical carbon dioxide sensors for environmental monitoring Cite this: Anal. Methods,2017,9,55 Eva Fritzsche,a Pia Gruber,a Susanne Schutting,a Jan P. Fischer,b Martin Strobl,a c a a Jens D. Muller,¨ Sergey M. Borisov* and Ingo Klimant A new optical carbon dioxide sensor for environmental monitoring is presented. It combines a robust and long-term stable sensing material with a compact read-out device. The sensing material relies on a NIR pH indicator immobilized into ethyl cellulose along with a quaternary ammonium base. The perfluorinated polymer Hyflon AD 60 used as a protection layer significantly enhances the long-term and mechanical stability of the sensor foils, as well as the robustness against poisoning gases, e.g. hydrogen sulfide. The sensor can be stored under ambient conditions for more than six weeks, whereas sensors covered with silicone rubber deteriorate within one week under the same conditions. The complete sensor device is Received 27th October 2016 applicable after a three-point (re)calibration without a preconditioning step. The carbon dioxide Accepted 24th November 2016 production and consumption of the water plant Egeria densa was measured in the laboratory. Creative Commons Attribution 3.0 Unported Licence. DOI: 10.1039/c6ay02949c Furthermore, results of profiling carbon dioxide measurements during a research cruise on the Baltic Sea www.rsc.org/methods at water depths up to 225 m are presented. 1. Introduction chamber and the direct measurement of the absorption of the analyte. The sensors are very robust but show interference by Carbon dioxide is an analyte with great impact on the marine water vapour,4 condensation of which can present a serious ecosystem.