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This volume is the first systematic study of Seneca's interaction
with earlier literature of a variety of genres and traditions. It
examines this interaction and engagement in his prose works,
offering interpretative readings that are at once groundbreaking
and stimulating to further study. Focusing on the Dialogues, the
Naturales quaestiones, and the Moral Epistles, the volume includes
multi- perspectival studies of Seneca's interaction with all the
great Latin epics (Lucretius, Vergil and Ovid), and discussions of
how Seneca's philosophical thought is informed by Hellenistic
doxography, forensic rhetoric and declamation, the Homeric
tradition, Euripidean tragedy and Greco-Roman mythology. The
studies analyzes the philosophy behind Seneca's incorporating exact
quotations from earlier tradition (including his criteria of
selectivity) and Seneca's interaction with ideas, trends and
techniques from different sources, in order to elucidate his
philosophical ideas and underscore his original contribution to the
discussion of established philosophical traditions. They also
provide a fresh interpretation of moral issues with particular
application to the Roman worldview as fashioned by the mos maiorum.
The volume, finally, features detailed discussion of the ways in
which Seneca, the author of philosophical prose, puts forward his
stance towards poetics and figures himself as a poet.
Intertextuality in Seneca's Philosophical Writings will be of
interest not only to those working on Seneca's philosophical works,
but also to anyone working on Latin literature and intertextuality
in the ancient world.
The volume offers an innovative and systematic exploration of the
diverse ways in which Later Greek Epic interacts with the Latin
literary tradition. Taking as a starting point the premise that it
is probable for the Greek epic poets of the Late Antiquity to have
been familiar with leading works of Latin poetry, either in the
original or in translation, the contributions in this book pursue a
new form of intertextuality, in which the leading epic poets of the
Imperial era (Quintus of Smyrna, Triphiodorus, Nonnus, and the
author of the Orphic Argonautica) engage with a range of models in
inventive, complex, and often covert ways. Instead of asking, in
other words, whether Greek authors used Latin models, we ask how
they engaged with them and why they opted for certain choices and
not for others. Through sophisticated discussions, it becomes clear
that intertexts are usually systems that combine ideology, cultural
traditions, and literary aesthetics in an inextricable fashion. The
book will prove that Latin literature, far from being distinct from
the Greek epic tradition of the imperial era, is an essential,
indeed defining, component within a common literary and ideological
heritage across the Roman empire.
It is perhaps a truism to note that ancient religion and rhetoric
were closely intertwined in Greek and Roman antiquity. Religion is
embedded in socio-political, legal and cultural institutions and
structures, while also being influenced, or even determined, by
them. Rhetoric is used to address the divine, to invoke the gods,
to talk about the sacred, to express piety and to articulate, refer
to, recite or explain the meaning of hymns, oaths, prayers, oracles
and other religious matters and processes. The 13 contributions to
this volume explore themes and topics that most succinctly describe
the firm interrelation between religion and rhetoric mostly in, but
not exclusively focused on, Greek and Roman antiquity, offering
new, interdisciplinary insights into a great variety of aspects,
from identity construction and performance to legal/political
practices and a broad analytical approach to transcultural
ritualistic customs. The volume also offers perceptive insights
into oriental (i.e. Egyptian magic) texts and Christian literature.
This volume acknowledges the centrality of comic invective in a
range of oratorical institutions (especially forensic and
symbouleutic), and aspires to enhance the knowledge and
understanding of how this technique is used in such con-texts of
both Greek and Roman oratory. Despite the important scholarly work
that has been done in discussing the patterns of using invective in
Greek and Roman texts and contexts, there are still notable gaps in
our knowledge of the issue. The introduction to, and the twelve
chapters of, this volume address some understudied multi-genre and
interdisciplinary topics: first, the ways in which comic invective
in oratory draws on, or has implications for, comedy and other
genres, or how these literary genres are influenced by oratorical
theory and practice, and by contemporary socio-political
circumstances, in articulating comic invective and targeting
prominent individuals; second, how comic invective sustains
relationships and promotes persuasion through unity and division;
third, how it connects with sexuality, the human body and
male/female physiology; fourth, what impact generic dichotomies,
as, for example, public-private and defence-prosecution, may have
upon using comic invective; and fifth, what the limitations in its
use are, depending on the codes of honour and decency in ancient
Greece and Rome.
In the light of recent scholarly work on tragic patterns and
allusions in Flavian epic, the publication of a volume exclusively
dedicated to the relationship between Flavian epic and tragedy is
timely. The volume, concentrating on the poetic works of Silius
Italicus, Statius and Valerius Flaccus, consists of eight original
contributions, two by the editors themselves and a further six by
experts on Flavian epic. The volume is preceded by an introduction
by the editors and it concludes with an 'Afterword' by Carole E.
Newlands. Among key themes analysed are narrative patterns,
strategies or type-scenes that appear to derive from tragedy, the
Aristotelian notions of hamartia and anagnorisis, human and divine
causation, the 'transfer' of individual characters from tragedy to
epic, as well as instances of tragic language and imagery. The
volume at hand showcases an array of methodological approaches to
the question of the presence of tragic elements in epic. Hence, it
will be of interest to scholars and students in the area of
Classics or Literary Studies focusing on such intergeneric and
intertextual connections; it will be also of interest to scholars
working on Flavian epic or on the ancient reception of Greek and
Roman tragedy.
The book is a detailed study on the structure and the topics of
Ovida (TM)s compedium of the Trojan Saga in Metamorphoses
12.1-13.622, the section also referred to as the a oeLittle Iliada
. It explores the motives and the objectives behind the selected
narrative moments from the Epic Cycle that found their way into the
Ovidian version of the Trojan War. By thoroughly mastering and
inspiringly refashioning a vast amount of literary material, Ovid
generates a systematic reconstruction of the archetypal hero,
Achilles. Thus, he projects himself as a worthy successor of Homer
in the epic tradition, a master epicist, and a par to his great
Latin predecessor, Vergil.
This study constitutes the first modern book-length, in-depth
critical analysis of Ovid, Metamorphoses 13.623-14.582. In this
unit Ovid, by challenging openly the artistry of his great
predecessor Vergil, redraws the parameters associated with the
definition and appreciation of epic poetry. The book first
introduces the methodological complexity of the Ovidian embrace
strategy, and, subsequently, it reads the 'little Aeneid' closely,
discussing the network of allusions to its prototype. It assesses
the structure and thematics of each episode in the cluster, and
traces the recurrence of prominent motifs throughout the
Metamorphoses. Not least, it explores poetics, arguing that Ovid's
selective incorporation of the Aeneid reproduces the spirit and
fundamental ideas of the model in an idiosyncratic sophisticated
manner.
This volume is the first systematic study of Seneca's interaction
with earlier literature of a variety of genres and traditions. It
examines this interaction and engagement in his prose works,
offering interpretative readings that are at once groundbreaking
and stimulating to further study. Focusing on the Dialogues, the
Naturales quaestiones, and the Moral Epistles, the volume includes
multi- perspectival studies of Seneca's interaction with all the
great Latin epics (Lucretius, Vergil and Ovid), and discussions of
how Seneca's philosophical thought is informed by Hellenistic
doxography, forensic rhetoric and declamation, the Homeric
tradition, Euripidean tragedy and Greco-Roman mythology. The
studies analyzes the philosophy behind Seneca's incorporating exact
quotations from earlier tradition (including his criteria of
selectivity) and Seneca's interaction with ideas, trends and
techniques from different sources, in order to elucidate his
philosophical ideas and underscore his original contribution to the
discussion of established philosophical traditions. They also
provide a fresh interpretation of moral issues with particular
application to the Roman worldview as fashioned by the mos maiorum.
The volume, finally, features detailed discussion of the ways in
which Seneca, the author of philosophical prose, puts forward his
stance towards poetics and figures himself as a poet.
Intertextuality in Seneca's Philosophical Writings will be of
interest not only to those working on Seneca's philosophical works,
but also to anyone working on Latin literature and intertextuality
in the ancient world.
PIERIDES IV, Series Editors: Sophia PapaioannouThis volume examines
interpretation as the original process of critical reception
vis-a-vis Terence's experimental comedies. The book, which consists
of two parts, looks at Terence as both an agent and a subject of
interpretation. The First Part ('Terence as Interpreter') examines
Terence as an interpreter of earlier literary traditions, both
Greek and Roman. The Second Part ('Interpretations of Terence')
identifies and explores different expressions of the critical
reception of Terence's output. The papers in both sections
illustrate the various expressions of originality and individual
creative genius that the process of interpretation entails. The
volume at hand is the first study to focus not only on the
interpreter, but also on the continuity and evolution of the
principles of interpretation. In this way, it directs the focus
from Terence's work to the meaning of Terence's work in relation to
his predecessors (the past literary tradition), his contemporaries
(his literary antagonists, but also his audience), and posterity
(his critical readers across the centuries).
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