Wort und Wandlung : Senecas Lebenskunst /
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The most important medium of Seneca's Lebenskunst is language. We first change the meaning of words through philosophical reflection; then we can change ourselves through language. Each chapter in this book takes linguistic or stylistic observations in texts as starting point (e.g. metaphors from the domains of health, finance, and sea-faring). Topics are man's self-definition in time and place and his relation to property, learning, and tradition. Single words and rhetorical patterns guide us in constructing an inner world and to find our own identity. Texts in Latin and in translation document Seneca's importance for modern, Christian Europe.
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1 online resource (236 pages) :
Includes bibliographical references (p. [221]-229) and index. :
9789047413998 :
0169-8958 ; :
Available to subscribing member institutions only.
Annaeana tragica : notes on the text of Seneca's tragedies /
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This volume is a companion to the author's new Loeb edition of Seneca's tragedies (vol. 1, 2002; volume 2, 2004). It offers reasons for his editorial choices, and explains his interpretations of the text as reflected in his translation. Hercules Oetanus and Octavia , now generally regarded as imitations of Senecan drama, are both included. The volume is intended to be read alongside Otto Zwierlein's Kritische Kommentar , published in 1986. In the intervening years there has been much new work pertaining to Seneca's text, including full-scale editions with commentary on individual plays, such as Keulen's Troades , Töchterle's Oedipus and Ferri's Octavia . Annaeana Tragica seeks to supplement and advance Zwierlein's work in the light of this new material. An appendix reviews the scholarly controversy concerning the anapaestic odes of these plays, and offers fresh evidence relevant to the issue.
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1 online resource (293 pages) :
Includes bibliographical references (p. 279-283) and indexes. :
9789047406006 :
0169-8958 ; :
Available to subscribing member institutions only.
Seneca on the stage /
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In the absence of the stage directions employed by their modern equivalents, ancient playwrights were obliged to ''encode'' information into their texts that can be described as implicit stage directions. It is the presence of such information that permits modern ''production criticism,'' intended to determine how ancient plays were meant to be staged. Since the early nineteenth century, it has been debated whether Seneca's tragedies were or were not written for stage production. Seneca's dramatic texts contain material that looks precisely like the implicit stage directions found in all other ancient drama, and when his plays are subjected to production criticism, it emerges that they make sound dramaturgic sense. Also, Seneca avails himself of the same artificial and sometimes irrational dramatic conventions used by other ancient playwrights, a fact often ignored by those who argue that Seneca was only writing plays for reading or recitation. The internal evidence of the plays offers much to support, and little to contradict, the idea that his plays were written with the stage in mind.
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1 online resource (vi, 72 pages) :
Includes bibliographical references and index. :
9789004328310 :
Available to subscribing member institutions only.