La cuestión de la autoejemplaridad senecana en las Epistulae ha sido poco estudiada. Este artículo parte del supuesto de que en ellas Séneca se apropia activamente de un dispositivo cultural clave ...para la construcción de la memoria en Roma: el discurso ejemplar. Habida cuenta de que aprender a morir bien es uno de los ejes vertebradores del epistolario, examinaremos la Ep. 30, en la que el ego epistolar ofrece una descripción de cómo un amigo, ya anciano, enfrenta de manera ejemplar su trance final. Atendiendo a que debe haber no sólo un registro que visibilice la acción que se propone como ejemplar (Roller 2004), sino también un agente que se proponga realizar dicho registro, intentaremos demostrar que en esta carta el ego epistolar, con el concurso de la escritura, dirige la atención del lector hacia su propia ejemplaridad, con vistas a forjar un retrato positivo y memorable de sí mismo.
Sidonius Apollinaris' letters offer a vivid series of glimpses into an otherwise sparsely documented period. His rich anecdotes feature the events, characters, and moments that defined his life, ...ranging from the treason trial of Arvandus to the Visigothic raiding of Clermont, from the corrupt and vile Seronatus to the holy widow Eutropia, and the day-to-day incidents that confronted a Gallo-Roman poet, aristocrat, and bishop as the Late Roman West transitioned into the barbarian successor kingdoms. Like any good storyteller, Sidonius exploited a wide array of narratological tools, manipulating temporality for dramatic effect, sketching his heroes and villains in vivid detail, and recreating witty dialogue in a collection that is highly organised and carefully strategised. This book provides a fuller understanding of his contribution to Latin literature, as a careful arranger of his self-image, a perceptive exploiter of narrative dynamics, and an influential figure in Late Antique Gaul.
Il volume miscellaneo che qui si presenta è stato pensato da amici e colleghi non solo come omaggio a Paolo Mastandrea, ma anche e soprattutto come illustrazione delle innumerevoli prospettive aperte ...dai suoi studi: l’indagine dei meccanismi dell’intertestualità nel mondo antico; l’analisi filologica di tradizioni controverse; i numerosi problemi storico-letterari offerti dai testi della Tarda Antichità latina; l’esame della ricezione umanistica e rinascimentale dell’eredità classica. Non si è naturalmente trascurato il contributo cruciale portato dallo studioso alla teorizzazione e allo sviluppo, fin dagli anni Novanta, di strumenti informatici di ricerca testuale, la cosiddetta ‘galassia Musisque Deoque’, di cui si tiene conto in molti dei lavori presenti nel volume.
Novodobni bralci so vselej čutili nelagodje ob adulacijah v čast Avgusta in cesarske družine, ki smo jim priča v Ovidijevi izgnanski poeziji. Subverzivne prvine tudi v tej poeziji so, vendar najbrž ...ne do take mere, da bi rušile apologetski načrt. V tem članku se navezujem na implicitni namig dveh zgodnjih humanističnih komentatorjev Ovidijevega Ibisa, Domizia Calderinija in Koprčana Cristofora Zarotta, ki sta uvidela, da je Ovidij v Ibisu zavestno izbral zvrst invektive, da bi s tem posredno »dokazal« nedolžni značaj Umetnosti ljubezni. Osrednja teza mojega besedila je, da je Ovidij podobni strategiji sledil že v drugi knjigi Žalostink, kjer včasih namenoma argumentira na nekonsistentne načine in se preveč opira na dlakocepsko klasifikacijo literarnih zvrsti. Pesnik sicer ne hitro parafrazira Katula in zatrdi, da poezije ne smemo vzeti kot indic avtorjevega moralnega profila, vendar razloček vita/ars omeji na epiko in dramatiko. V nadaljevanju presenetljivo prizna, da je njegova – in sploh vsa – prvoosebna poezija osnovana v resničnem življenju, ob tem pa zatrjuje, da je edini pesnik v zgodovini, ki je bil kaznovan zaradi erotičnih tematik. Ta nova formula captatio benevolentiae se ujema s splošno težnjo izgnanskih elegij: odreka se ideji o poeziji kot fikciji in vzpostavlja retoriko poezije kot avtentičnega izraza trpljenja. Ibis je kot eksplicitno, ekstrovertirano sramotilna pesnitev skrajni izraz te poetike.
In his 21st Letter to Lucilius, Seneca tries to convince his student to retreat from public life by granting him the renown which Lucilius strives to achieve through political engagement in the field ...of philosophy instead: Three examples - Epicurus, Cicero and Vergil - illustrate that literary expressions of friendship, too, lead to lasting fame. Through this device, Seneca not only fashions himself as an author who has the literary power to exempt himself and his friend from oblivion; in citing Vergil’s famous fortunati ambo, he also uses the background of the Nisus-and-Euralyus-episode to provoke intertextual tensions and highlight the urgency of his call to retreat from politics.
The study of the contents of the manuscript Rep. I 30B of Leipzig University Library, a codex catalogued in the 19th century but almost ignored, provides new evidence of known translations into ...Spanish and of others hitherto unknown. In the first case we find Seneca’s
translated or commissioned for translation by Fernán Pérez de Guzmán, several chapters of Tacitus’s
and the
according to the text by Pere Torroella. In the second, a new version (the second) of the false epistolary between Seneca and Saint Paul, a work that allowed Saint Jerome to introduce the Cordovan philosopher in his list of
and an plot that even made some medieval authors think about the conversion of the old Seneca to Christianity. In order to reach these conclusions, a careful textual analysis is performed. An edition of this second translation of the apocryphal epistolary is included at the end of the article.
Seneca's Characters addresses one of the most enduring and least theorised elements of literature: fictional character and its relationship to actual, human selfhood. Where does the boundary between ...character and person lie? While the characters we encounter in texts are obviously not 'real' people, they still possess person-like qualities that stimulate our attention and engagement. How is this relationship formulated in contexts of theatrical performance, where characters are set in motion by actual people, actual bodies and voices? This book addresses such questions by focusing on issues of coherence, imitation, appearance and autonomous action. It argues for the plays' sophisticated treatment of character, their acknowledgement of its purely fictional ontology alongside deep – and often dark – appreciation of its quasi-human qualities. Seneca's Characters offers a fresh perspective on the playwright's powerful tragic aesthetics that will stimulate scholars and students alike.
This is the first general introduction to Pliny's Letters published in any language, combining close readings with broader context and adopting a fresh and innovative approach to reading the letters ...as an artistically structured collection. Chapter 1 traces Pliny's autobiographical narrative throughout the Letters; Chapter 2 undertakes detailed study of Book 6 as an artistic entity; while Chapter 3 sets Pliny's letters within a Roman epistolographical tradition dominated by Cicero and Seneca. Chapters 4 to 7 study thematic letter cycles within the collection, including those on Pliny's famous country villas and his relationships with Pliny the Elder and Tacitus. The final chapter focuses on the 'grand design' which unifies and structures the collection. Four detailed appendices give invaluable historical and scholarly context, including a helpful timeline for Pliny's life and career, detailed bibliographical help on over 30 popular topics in Pliny's letters and a summary of the main characters mentioned in the Letters.
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