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1

Three Settings in Seneca’s Phaedra

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Rzepkowski K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

In the following article I present my own concept for interpreting Seneca’s Phaedra, demonstrating that the action takes place in three distinct settings: that of the royal palace (DOMUS), which is the domain of Phaedra’s actions, that of the city of Athens (URBS), which is the realm of Theseus and the Nurse, and that of the forest (SILVAE), which constitutes the world of Hippolytus. In the second part of the article I propose to arrange the stage in a way that takes the proposed settings into account.

2

Trzy plany akcji w 'Fedrze' Seneki

100%

Rzepkowski K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 1

73-88

EN

Abstract In the article author presents his own concept for interpreting Seneca’s Phaedra, demonstrating that the action takes place on three distinct settings: that of the royal palace (DOMUS), which is the domain of Phaedra’s actions, that of the city of Athens (URBS), which is the realm of Theseus and the Nurse, and that of the forest (SILVAE), which constitutes the world of Hippolytus. In the second part of the article he proposes to arrange the stage in a way that takes the proposed settings into account

FR

L’action de la 'Phedre' de Séneque se déroule sur trois plans : celui du palais royal (domus), celui de la ville d’Athene (urbs) et celui du foret (siluae). Chaqu’un de ces plans constitue un domain d’action d’un autre personnage : le plan de la domus est réservé a Phedre, le plan de l’urbs est un espace d’action de la Nourrice et, puis, de Thésée, et, enfin, le plan des siluae est dominé par Hippolyte qui ne passera ses frontieres qu’apres la morte. Dans la réalisation scénique de la piece a ces trois plans d’action correspondent trois parties architecturales du théâtre romain : le palais royale est visualisé par le décor de la façade de la skéné (frons scaenae), la ville d’Athene est représentée sur le pulpitum, et le foret ou Hippolyte et ses gens organisent une uenatio – sur l’orchestre.

3

‘You too, my child?’ On trust and perfidy in classical literature.

51%

Schade G.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2014

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vol. 24

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issue 1

185-201

PL

A tripartite approach is proposed in order to get hold of the complex phenomenon of trust and perfidy in classical literature. In a first part two cases of political treason are discussed: the most prominent victim of treason, Julius Caesar, who was very much surprised when he saw Brutus among his assassins, and the greatest traitor in antiquity ever, Alcibiades. Protean perfidy, however, is a gender-crossing issue, and a second part is dedicated to literary figures, in particular to women. Aeschylus’ Clytemnestra is an outstanding example of a perfidious character. Finally, a third part is concerned with words, for πίστις and fides have attracted the attention of classical scholars and structural linguists alike. At the beginning, however, Hamlet is introduced, an expert both in trust and perfidy as well as in classical literature.

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3 Symbolae Philologorum Posnaniensium Graecae et Latinae

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2 Rzepkowski K.

1 Schade G.

Three Settings in Seneca’s Phaedra

Trzy plany akcji w 'Fedrze' Seneki

‘You too, my child?’ On trust and perfidy in classical literature.