Brill's Companion to Seneca. Philosopher and Dramatist

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DAMSCHEN, G. / A. HEIL, EDS.: BRILL'S COMPANION TO SENECA. PHILOSOPHER AND DRAMATIST Preface Part One – Life and Legacy Imago suae vitae: Seneca’s Life and Career Thomas Habinek TheWorks of Seneca the Younger and Their Dates C.W. Marshall Transmission Rolando Ferri Seneca and Senecae: Images of Seneca from Antiquity to Present Seneca the Philosopher Matthias Laarmann Seneca the Dramatist Werner Schubert Part Two - Philosophy Context: Seneca’s Philosophical Predecessors and Contemporaries John Sellars Works De providentia R. Scott Smith De constantia sapientis R. Scott Smith De ira Maria Monteleone Consolatio ad Marciam Jochen Sauer De vita beata Fritz-Heiner Mutschler De otio R. Scott Smith De tranquillitate animi Fritz-Heiner Mutschler De brevitate vitae R. Scott Smith Consolatio ad Polybium Jochen Sauer Consolatio ad Helviam Jochen Sauer De clementia Ermanno Malaspina Naturales quaestiones Gareth D. Williams Epistulae morales Aldo Setaioli De beneficiis Mario Lentano Lost and FragmentaryWorks Anna Maria Ferrero Epistulae Senecae ad Paulum et Pauli ad Senecam Alfons Fürst Topics Ontology and Epistemology Mireille Armisen-Marchetti Ethics I: Philosophy as Therapy, Self-Transformation, and “Lebensform” Aldo Setaioli Ethics II: Action and Emotion Margaret R. Graver Ethics III: Free Will and Autonomy Aldo Setaioli Ethics IV: Wisdom and Virtue Jula Wildberger Ethics V: Death and Time Catharine Edwards Physics I: Body and Soul R. Scott Smith Physics II: Cosmology and Natural Philosophy Bardo Maria Gauly Physics III: Theology Aldo Setaioli Part Three - Tragedy Context Wolf-Lüder Liebermann Works Hercules furens Margarethe Billerbeck Troas Wilfried Stroh Phoenissae Marica Frank Medea Wolf-Lüder Liebermann Phaedra Roland Mayer Oedipus Karlheinz Töchterle Agamemnon Christoph Kugelmeier Thyestes Chiara Torre DubiousWorks Hercules Oetaeus C.A.J. Littlewood Octavia Rolando Ferri Topics Space and Time in Senecan Drama Ernst A. Schmidt Vision, Sound, and Silence in the “Drama of theWord” Andreas Heil The Chorus: Seneca as Lyric Poet Giancarlo Mazzoli The Rhetoric of Rationality and Irrationality Gottfried Mader Characters G.W.M. Harrison Themes G.W.M. Harrison Greek and Roman Elements in Senecan Tragedy Sander M. Goldberg Philosophical Tragedy? François-Régis Chaumartin Part Four - Apocolocyntosis Apocolocyntosis Renata Roncali Part Five – Other Works Epigrams Joachim Dingel De vita patris Michael Winterbottom Part Six - Synthesis Seneca’s Language and Style Michael von Albrecht Systematic Connections between Seneca’s PhilosophicalWorks and Tragedies Susanna E. Fischer Andrea Balbo and Ermanno Malaspina Editions of Seneca’sWorks (Since Haase’s Opera Omnia) .

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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.
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The Darkness of Man: a Study of Light and Dark Imagery in Seneca's
The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon A Senior Thesis in Classics The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Emily Kohut May 2016 Kohut 1 Acknowledgments I would like to give my deepest and heartfelt thanks to Colorado College’s Classics department. Thank you Owen Cramer, Sanjaya Thakur, Marcia Dobson, and Richard Buxton for all of your help, edits, and advice throughout the course of my time here at CC and especially while working on this project. Thank you to my family and friends for supporting me through this whole process and to the many others who have been involved in my time here at CC. This has been an amazing experience and I could not have done it without all of you. Thank you very much. Kohut 2 The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon Seneca’s Thyestes and Agamemnon are texts in which light rarely presents itself, instead it is dark that is present from start to finish. Throughout the course of these texts, I take note of the use and presence, or lack, of light. There appear to be two specific uses of light that serve specific purposes in Thyestes and Agamemnon: natural light (generally indicated with primarily die- or luc-1 based words), and artificial light (referenced by words related to/derived from flamma or ardeo2). Natural light is prominently used only when discussing its being consumed by darkness, while artificial light appears in passages saturated with destruction and chaos.
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AGAMEMNON PROLOGUE: Lines 1-39
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CLAS 4000 Seminar in Classics on Seneca's Thyestes and LATN 4002 Roman Drama
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Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
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Apocolocyntosis De Providentia
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Power Struggles in Aeschylus' Oresteia
ILCEA Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie 40 | 2020 English for Specific Purposes (ESP) and the Underlying Dynamics of Power, Empowerment and Disempowerment Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy Luttes de pouvoir dans l’Orestie d’Eschyle : anglais de spécialité, droit et littérature et tragédie grecque Malcolm Harvey Electronic version URL: http://journals.openedition.org/ilcea/10741 DOI: 10.4000/ilcea.10741 ISSN: 2101-0609 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-204-8 ISSN: 1639-6073 Electronic reference Malcolm Harvey, « Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy », ILCEA [Online], 40 | 2020, Online since 04 June 2020, connection on 06 September 2020. URL : http://journals.openedition.org/ilcea/10741 ; DOI : https://doi.org/10.4000/ilcea.10741 This text was automatically generated on 6 September 2020. © ILCEA Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tra... 1 Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy Luttes de pouvoir dans l’Orestie d’Eschyle : anglais de spécialité, droit et littérature et tragédie grecque Malcolm Harvey Introduction 1 In a departure from mainstream ELP1 studies and their primary focus on the language of the law, this paper is situated in the broader perspective of French ESP studies, which reflects the dominantly academic background of ESP in France and other Continental European countries. While the use of contemporary specialised popular fiction (novels, films, TV series, video games, etc.) in LSP2 has attracted considerable research interest in France and elsewhere since the identification and codification of a relatively new genre known as fiction à substrat professionnel (FASP),3 this paper seeks to go a step further, exploring possible convergences between ESP and the Law and Literature (L&L) movement.
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Magis Rythmus Quam Metron: the Structure of Seneca's Anapaests
Magis rythmus quam metron: the structure of Seneca’s anapaests, and the oral/aural nature of Latin poetry Lieven Danckaert To cite this version: Lieven Danckaert. Magis rythmus quam metron: the structure of Seneca’s anapaests, and the oral/aural nature of Latin poetry. Symbolae Osloenses, Taylor & Francis (Routledge): SSH Titles, 2013, 87 (1), pp.148-217. 10.1080/00397679.2013.842310. halshs-01527668 HAL Id: halshs-01527668 https://halshs.archives-ouvertes.fr/halshs-01527668 Submitted on 24 May 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Magis rythmus quam metron : the structure of Seneca's anapaests, and the oral/aural nature of Latin poetry 1 Lieven Danckaert, Ghent University Abstract The aim of this contribution is twofold. The empirical focus is the metrical structure of Seneca's anapaestic odes. On the basis of a detailed formal analysis, in which special attention is paid to the delimitation and internal structure of metrical periods, I argue against the dimeter colometry traditionally assumed. This conclusion in turn is based on a second, more methodological claim, namely that in establishing the colometry of an ancient piece of poetry, the modern metrician is only allowed to set apart a given string of metrical elements as a separate metron, colon or period, if this postulated metrical entity could 'aurally' be distinguished as such by the hearer.
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Zanobini, M. (2018); 'The Chorus As a Downgraded Protagonist. Some
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Antigone's Pietas in Seneca's Phoenissae
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Discovering Romanity in Seneca's De Otio and De Brevitate Vitae Joshua Dean Wimmer [email protected]
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Seneca's Apocolocyntosis and Petronius' Satyricon
Seneca’s Apocolocyntosis and Petronius’ Satyricon MICHAEL PASCHALIS University of Crete Introduction In chapter 5 of Seneca’s Apocolocyntosis it is announced to Jupiter that a weird character has arrived in heaven, who is shaking his head all the time and dragging his right leg and when asked about his nationality, replies in a confused, unintelligible language that is neither Greek nor Latin, nor of any known race. Jupiter orders Hercules, who was widely traveled and was thus expected to know all nations of the world, to go and find out who this cha- racter is. Hercules is shocked at the shape of this unusual fellow, his limping gait and his hoarse, inarticulate voice, reminiscent of a sea animal.1 He be- gins to think that his thirteenth labor has arrived when on closer inspection he realizes that the beast may be some kind of human being. Being a ‘Greekling’ (Graeculus), Hercules addresses him with a Homer- ic verse: ‘Who are you and from where? What are your city and parents?’ In Odyssey 1,170 this line2 is addressed by Telemachus to a female goddess (Athene) disguised as a male (Mentes); here it is appropriately adapted to render the ambiguity of race and species surrounding this character. Her- cules’ question provokes the following reaction from the newly arrived, who is none other than the deceased emperor Claudius: ‘Claudius rejoiced that there were philologi up there; he began to hope that there would be some place for his historical works’ (Eden’s translation). So he, too, used a verse of Homer (Odyssey 9,39) to indicate that he was a Caesar and said: ‘The wind, bearing me from Ilion, brought me to the Cicones’.
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