Wisdom and Other Feelings: Affect, Knowledge, and the Senecan Subject
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Expanding the Letter to the Hebrews from Within
Expanding the Letter to the Hebrews from Within Introduction This document came into existence as the result of three shorter essays written not long before it, The First City, Mystery People and On the Idea of Returning. All deal with different topics yet are related even though I had no intent to make them as such. Before moving into Hebrews itself, let’s look at the two points of connection among them all because they tie in with each other in some way or other. In a way, the first is the most important insofar as it represents a time when I began to develop an approach to scripture different from the one to which I had been accustomed. In that article I recounted events starting from when Adam and Eve had been banished from the Garden of Eden through the founding of the first city and then on to the flood. Cain, who had murdered his brother Abel, became a wander and eventually settled down to found the world’s first city which he named Enoch, that is, after his son. From then on, human civilization began a downward spiral which forced the Lord to destroy every living thing on earth in order to renew creation. All these events are mythic in that they point to more profound realities than any historical ones. The second article examines references to healing in the Gospel of St. Matthew with special attention given to the various scenarios of what could have happened to those whom Jesus had cured. For the most part these people remain anonymous which conveys a certain sense of mystery. -
The Stoic Invention of Cosmopolitan Politics1
For the Proceedings of the Conference "Cosmopolitan Politics: On The History and Future of a Controversial Ideal" Frankfurt am Main, December 2006 THE STOIC INVENTION OF COSMOPOLITAN POLITICS1 Eric Brown Department of Philosophy Washington University in St. Louis According to ancient Stoics, a polis is a place, a system of human beings, or both of these things,2 and it is a system of human beings—not just a loose collection—because it is put in order by law.3 But Stoics do not mean by 'law' the decree of a duly constituted authority. They define 'law' as "right reason," which provides "the standard of right wrong, prescribing to naturally political animals the things that ought to be done and proscribing the things that ought not."4 In point of fact, they think that no extant 1 This essay is only a lightly revised version of the programmatic lecture I delivered at the conference. Its first two thirds, which sketch an account of the Chrysippean Stoic's attachment to a cosmopolitan way of life, receive fuller development and defense in Brown (forthcoming), and the last third is more provocation than settled argument. I hope that the many people who have helped me will not be offended if I single out for special thanks Elizabeth Asmis, Pauline Kleingeld, and Martha Nussbaum; their criticisms and encouragement over many years have been invaluable to me. I also thank the organizers and the other conferees in Frankfurt for an excellent experience, and the editors of the proceedings for their patience. 2 Stobaeus II 7.11i 103,17-20 Wachsmuth. -
The Rhetoric of Ritual: the Soviet Sociolect in Ethnolinguistic Perspective
179 SOVIET CULTURE IN RETROSPECT Konstantin Bogdanov The Rhetoric of Ritual: The Perspective istic Soviet Sociolect in Ethnolinguistic Perspective 1. In historical writing, the distinctive character of the Soviet era appears as a distinctive set of ideas, situations, and even human types, the latter embodying the realisation of the didactic Konstantin Bogdanov. The Rhetoric of Ritual: The Soviet Sociolect in Ethnolingu in Sociolect Soviet The of Ritual: The Rhetoric Bogdanov. Konstantin project to create a new ‘Soviet man’ (sovetskii chelovek, during the Brezhnev era renamed in the clumsy phrase Homo sovieticus, homosos, or sovok). But from the philological standpoint what is equally (or: primarily) distinctive is the communicative discourse that served Soviet ideology: new words, new texts, new forms of social interaction (including media forms). The scale of linguistic innovation in the Soviet era is best expressed in the diversity of so-called ‘Sovietisms’ in semantics, in lexis and word formation, and in style – the words and phrases that lend their characteristic colour to texts of a public or political nature.1 But the role of lexical and semantic innovations that were called for by the novelty and distinctiveness of the political reality looks broader, in historical and cultural retrospect, than the sphere of political ideolect. Studies on the history of the 1 See, e.g., an author’s preface addressed to young readers: ‘You are holding a book about the words of the Russian language in the Soviet era, words in which there ceaselessly beats the hot pulse of the heroic life of our Soviet Motherland, the very words that are the real heroes of our remarkable and glorious age’ [Shansky 1980: 3]. -
Latin 019 Roman Imperial Literature: Death in Seneca Prof
Latin 019 Roman Imperial Literature: Death in Seneca Prof. Jeremy B. Lefkowitz Spring 2011 [email protected] MWF 10:30 ‐ 11:20 Trotter 111, x7894 Trotter 115 Office Hours: Wednesday 1:00 – 4:00 & by appointment Course Description This course examines Seneca's views on life and death as expressed in his philosophical essays, letters to his friends and family, and tragic plays. The emphasis will be on close readings of Seneca's prose and poetry in Latin, with careful attention to the distinguishing features of Seneca’s rhetorical style, his famous brevitas and theatricality, and the place of Senecan thought in its literary, philosophical, and historical contexts. Evaluation Participation and preparation for class (including presentations): 15% Regular (unannounced) quizzes on vocabulary and morphology: 20% Term Paper (first draft due Friday, April 14; final draft due Friday, April 29): 15% Midterm Exam (Wednesday, February 23): 25% Final Exam (date tba): 25% Guidelines and Expectations Preparing for Class: It is essential that you come to every class meeting well prepared. What does it mean to be "well prepared" for this class? It means reading every line of assigned Latin closely and carefully. Here is a checklist to help you do this: * Have you read through everything out loud, slowly, with attention to pronunciation and accentuation? * Have you worked through the texts, sentence by sentence, doing your best to understand what you are reading? * Have you looked up any unfamiliar words in the dictionary, making a list (or an index card) of every word you look up? * Have you checked all forms and rules of syntax about which you are unsure in your Latin grammar? * Have you read through the texts again, one last time, to make sure you are confident in your understanding of all the Latin expressions? Of course, there will be times when you cannot fully understand the meaning of a sentence or phrase on your own, in which case you should come to class with questions. -
De Otio De Brevitate Vitae
SENECA DE OTIO DE BREVITATE VITAE G. D. WILLIAMS Associate Professor of Classics, Columbia University, New York The Pitt Building, Trumpington Street, Cambridge , United Kingdom The Edinburgh Building, Cambridge, ,UK West th Street, New York, -, USA Williamstown Road, Port Melbourne, , Australia Ruiz de Alarc´on , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org C Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typefaces Baskerville / pt and New Hellenic System LATEX ε [] A catalogue record for this book is available from the British Library hardback paperback CONTENTS Preface page vii Conventions and abbreviations viii Introduction Author and date: initial problems The Dialogues in context (a) The Stoicbackground (b) The Roman philosophical tradition (c) From Republicto Empire De otio (a) The view from above (b) Date, addressee and related problems De breuitate uitae (a) Preliminaries (b) Date and addressee (c) Theme and interpretation Style and language (a) Senecan style: context and general tendency (b) Senecan mannerism, vocabulary, wordplay The transmission of the text L. ANNAEI SENECAE DE OTIO; DE BREVITATE VITAE Commentary Bibliography Indexes General Latin words Greek words v INTRODUCTION . AUTHOR AND DATE: INITIAL PROBLEMS Born into a provincial equestrian family of Italian extraction at Corduba (modern C´ordoba) in southern Spain, Lucius Annaeus Seneca (c. – ) wasraisedand educated from an early age at Rome. -
Discovering Romanity in Seneca's De Otio and De Brevitate Vitae Joshua Dean Wimmer [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2012 Lend Me Your Voice: Discovering Romanity in Seneca's De otio and De brevitate vitae Joshua Dean Wimmer [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Ancient History, Greek and Roman through Late Antiquity Commons Recommended Citation Wimmer, Joshua Dean, "Lend Me Your Voice: Discovering Romanity in Seneca's De otio and De brevitate vitae" (2012). Theses, Dissertations and Capstones. Paper 255. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. LEND ME YOUR VOICE: DISCOVERING ROMANITY IN SENECA’S DE OTIO AND DE BREVITATE VITAE A Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Latin by Joshua Dean Wimmer Approved by Dr. E. Del Chrol, Committee Chairperson Dr. Caroline Perkins Dr. Christina Franzen Marshall University May 2012 Copyright by Joshua Dean Wimmer 2012 ii Dedication and Acknowledgments DEDICATION Pro parentibus meis ACKNOWLEDGMENTS I would sincerely like to extend my most deeply felt gratitude to Dr. E. Del Chrol, Dr. Caroline Perkins, and Dr. Christina Franzen of the Department of Classics at Marshall University, as well as to any and to all who have helped in some way, no -
Seneca's Concept of a Supreme Being in His Philosophical Essays and Letters Robert James Koehn Loyola University Chicago
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1947 Seneca's Concept of a Supreme Being in His Philosophical Essays and Letters Robert James Koehn Loyola University Chicago Recommended Citation Koehn, Robert James, "Seneca's Concept of a Supreme Being in His Philosophical Essays and Letters" (1947). Master's Theses. Paper 641. http://ecommons.luc.edu/luc_theses/641 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1947 Robert James Koehn SENECA'S CONCEPT OF A SUPRE.'ME BEING IN HIS PHILOSOPHICAL ESSAYS AND LETTERS BY ROBERT J. KOEHN, S.J. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF ~qE REQUIREMENTS FOR A MASTER OF ARTS DEGREE IN THE CLASSICS AUGUST 1947 VITA AUCTORIS Robert James Koehn was born in Toledo, Ohio, on September 2, 1917. After attending St. James parochial school, he entered st. John's High School in September 1931. Upon his graduation in 1935 he attended St. John's and DeSales Colleges before entering the So ciety of Jesus on September 1, 1937. He matriculated at Xavier University, Cincinnati, and received a Bachelor of Li terature degree in June 1941. Following his transfer to West Baden College, West Baden Springs, Indiana, in the summer of 1941, he entered the graduate school of Loyola Uni versity, Chicago, in the Classics. -
Omnis Ars Naturae Imitatio Est. Seneca and the Fine Arts
ACTA CLASSICA XLVIII. 2012. UNIV. SCIENT. DEBRECEN. pp. 59–68. OMNIS ARS NATURAE IMITATIO EST. SENECA AND THE FINE ARTS BY CSILLA SZEKERES View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Debrecen Electronic Archive Abstract: The highly influential idea that the artist’s task is to represent and copy nature as closely as possible became well-known in Seneca’s wording (omnis ars naturae imitatio est). By investigating this formula, the present study aims to find answers to the question whether it was really this idea that Seneca regarded as the purpose and essence of a work of art. Comparing Seneca’s texts with other Stoic sources, the paper gives an analysis of the meanings of the concepts techne/ars, including the fine arts as we know them today, and mimesis/imitatio. Seneca’s negative value-judgement of the fine arts is relativized by being embedded in the interrelationships in his philosophy; nor can imitatio be interpreted in the fields of sculpture and painting as the passive reflection of reality, as mere copying. Keywords: techne, ars, natura, mimesis, imitatio, Stoics, Seneca, fine arts. The notion – ars naturae imitatio est –, which became an integral part of Euro- pean thinking in Seneca’s words1, served as the theoretical underpinning for lifelike portrayal for a number of centuries. According to this, the artists’s task is to represent: imitate, copy and reflect nature as close as possible.2 But is this really what Seneca regarded as the essence of fine arts as we know them today, and above all, of sculpture and painting? This is a group of issues encompass- ing several problems which largely derive from the fact that the terms making up the apparently clear and unambiguous definitions carry highly complex meanings depending not only on the philosophical context (Platonist, Aristote- lian, Stoic) but even within the philosophy of Stoicism, too. -
Yale University B0082
U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180082 Gramts.gov Tracking#: GRANT12659441 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180082 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (1244-GEPA Statement2018) e12 6. Grants.gov Lobbying Form e13 7. Dept of Education Supplemental Information for SF-424 e14 8. ED Abstract Narrative Form e15 Attachment - 1 (1246-CES FLAS Abstract) e16 9. Project Narrative Form e18 Attachment - 1 (1245-CES FLAS Budget Narrative) e19 10. Other Narrative Form e67 Attachment - 1 (1234-InformationToMeetStatutoryRequirements (9)) e68 Attachment - 2 (1235-FLAS Applicant Profile) e71 Attachment - 3 (1236-Acronyms ESC) e72 Attachment - 4 (1237-Bojanowska CV 2018) e74 Attachment - 5 (1238-BIOS ForAPPwithTOC_YaleESC) e85 Attachment - 6 (1239-LetterOfReferenceMinjinHashbat) e244 Attachment - 7 (1240-LetterOfReferenceNellekeVanDeusen-Scholl) e246 Attachment - 8 (1241-LetterOfReferenceConstantineMuravnik) e248 Attachment - 9 (1242-CouncilMemberList) e250 Attachment - 10 (1243-CourseListForAPP_ALLYaleESC) e253 11. Budget Narrative Form e317 Attachment - 1 (1247-Section C Budget Narrative) e318 This application was generated using the PDF functionality. The PDF functionality automatically numbers the pages in this application. Some pages/sections of this application may contain 2 sets of page numbers, one set created by the applicant and the other set created by e-Application's PDF functionality. -
Music in Plato's Laws 1, by Eleonora Rocconi
Music in Plato’s Laws First seminar: Introduction, and Book 2, 653a-656c Eleonora Rocconi (University of Pavia) Introduction: Music in Plato’s Writings If we think about the numerous allusions to music we may find throughout Plato’s dialogues, the relevance of musical art is certainly outstanding. Most of the references deal with the value of music in education (a well established idea in ancient Greek culture), as in Protagoras 325c-326b, where the leading character prescribes for the children instruction by the kitharistai, who «make harmonies and rhythms quite familiar to the children’s souls, in order that they may learn to be more gentle, and harmonious, and rhythmical (εὐρυθμότεροι καὶ εὐαρμοστότεροι)»1; or see the more famous passage of Republic Book 3, 398c-401a, where the philosopher discusses the proper education – both physical and musical – for the guardians (phylakes) of his ideal city, evaluating various scales and rhythms and identifying those that are best suited to the task of improving the soul and harmonizing its elements. These remarks seem to be deeply involved with the performance culture of mousikē in the first half of the fourth century BC, towards which Plato is often harshly critical (as in the case, for instance, of the increasing usage of the panharmonic aulos, an instrument which may shift from one harmonia to another and which he vigorously denounces, or, more generally, of the tendency of modern composers to constantly pursue musical novelty, regarded by Plato as a danger to the state). Other more technical passages (closely connected with contemporary musical theories) are concerned, instead, with harmonics conceived as a mathematical science, as in the case of Republic Book 7, 530c-531c. -
118734748.Pdf
KARL KERENYI APOLLO The Wind, the Spirit, and the God Four Studies Translated from German by Jon Solomon Spring Publications, Inc. Dallas, Texas Dunqicin Series lb © 1983 by Spring Publications, Inc. All rights reserved Printed in the United States of America by BookCrafters, Inc., Chelsea, Michigan, for Spring Publications, Inc., P.O. Box 222069, Dallas, Texas 75222 International Distributors: Spring/Postfach/8800 Thalwil/Switzerland; Japan Spring Sha, Inc./31, Shichiku- Momonomoto-Cho/Kitaku, Kyoto, 603 Japan; Element Books Ltd/The Old Brewery Tisbury Salisbury/Wiltshire SP3 6NH/England Cover inset: Apollo, from the neck amphora of the Berlin Painter. New York Metropolitan Museum 13.233, with thanks to Professor Hans Peter Isler, Director of the Archeological Institute of the University of Zurich. Cover design by Kate Smith Passy and Sven Doehner. Acknowledgment is made to Princeton University Press for permission to use, for consistency in this volume, Jon Solomon's translation of "Apollo Epiphanies" in stead of the translation by Ralph Manheim in Spirit and Nature: Papers from the Eranos Notebooks, Vol. 1, Bollingen Series XXX. Copyright 1954 by Princeton University Press. Library of Congress Cataloging in Publication Data Kerenyi, Karl. 1897-1973. Apollo : the wind, the spirit, and the God. (Dunquin series) Includes bibliographical references. Contents: Apollos temple servant — The spirit — Apollonian epiphanies — [etc.] 1. Apollo (Greek deity)—Addresses, essays, lectures. I. Title. BL820.A7K472513 1983 292'.211 83-20222 ISBN 0-88214-216-X CONTENTS I. APOLLO'S TEMPLE SERVANT / 1 II. THE SPIRIT / 9 III. APOLLONIAN EPIPHANIES 1. Introduction I 21 2. Callimachus Hymn to Apollo / 23 3. -
Theory and Interpretation of Narrative James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors
THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors A Poetics of Unnatural Narrative EDITED BY JAN ALBer HeNRIK SKOV NIELSEN BRIAN RICHARDSON THE OHIO STATE UNIVersITY Press COLUMBus Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data A poetics of unnatural narrative / edited by Jan Alber, Henrik Skov Nielsen, and Brian Rich- ardson. p. cm. — (Theory and interpretation of narrative) ISBN 978-0-8142-1228-8 (cloth : alk. paper) — ISBN 978-0-8142-9330-0 (cd) 1. Narration (Rhetoric) 2. Poetics. I. Alber, Jan, 1973– II. Skov Nielsen, Henrik. III. Richardson, Brian, 1953– IV. Series: Theory and interpretation of narrative series. PN212.P644 2013 808'.036—dc23 2013005782 Cover design by Greg Betza and Despina Georgiadis Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction JAN ALBER, STEFAN IVERSEN, HENRIK SKOV NIELSEN, and BRIAN RICHARDSON 1 1. Unnatural Stories and Sequences BRIAN RICHARDSON 16 2. The Whirligig of Time: Toward a Poetics of Unnatural Temporality RÜDIGER HEINZE 31 3. Unnatural Spaces and Narrative Worlds JAN ALBER 45 4. Naturalizing and Unnaturalizing Reading Strategies: Focalization Revisited HENRIK SKOV NIELSEN 67 5. Unnatural Minds STEFAN IVERSEN 94 6. ‘Unnatural’ Metalepsis and Immersion: Necessarily Incompatible? WERNER WOLF 113 7.