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1

Z rozważań Seneki o Bogu

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Budzanowska D.

Seminare. Poszukiwania naukowe

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2012

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vol. 31

207-219

EN

Lucius Annaeus Seneca, called the Younger or Philosopher, is the most important figure of the Roman Imperial Period. This Stoic philosopher made a lasting contribution to Stoicism. Seneca lived during difficult times and he was engaged in politics during the reign of his disciple, Cesar Nero. Seneca agrees with earlier Stoics, that God is corporeal and is a part of the world. Seneca discusses virtue as the ideal of “becoming like God” and thinks, that the virtuous man is an equal to the God. So he claims, that we have to learn virtues. However in this case we have the help of God, who gives us the intellect when we are born. Seneca reminds, that the life is not easy and only the indications of the philosophy concerning virtue preserve from the unjust fortune.

2

Ipsaque morte peior est mortis locus. The underworld in Seneca’s

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Stróżyński M.

Classica Cracoviensia

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2013

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issue 16

137-164

EN

The present paper analyses the episode of Hercules’ journey to the underworld in Seneca’s Hercules furens. The starting point is the contemporary psychoanalysis school of object relations; the research method combines psychoanalytic interpretive methods with a philological text analysis. The underworld passage, showing Hercules’ weakness and superbia, can be treated as the key to understanding the entire play.

3

„Listy, które czyta wielu”. Pseudokorespondencja św. Pawła z Seneką

100%

Szarmach M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 2

91-94

EN

The apocryphal correspondence between St. Paul and Seneca, that is hardly touched upon in the scholarly literature, is an interesting example of a Christian „epistolographical novel” composed by poorly trained rhetorician.

4

O kilku frontyspisach XVII-wiecznych wydań dzieł Seneki

100%

Brusewicz A.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 2

105-124

EN

The article presents frontispieces of several seventeenth-century editions of Seneca’s works, belonging to the collection of the Kopernikańska Library in Toruń, whose title pages draw a particular attention of a reader because they have a very interesting graphic layout. Presented is a title page of published in Antwerp Seneca’s works edited by Justus Lipsius dated 1605 and their third edition dated 1632, in which – according to Lipsius’ suggestion noted in one of the copies of the first edition – an image of Seneca on the frontispiece and on early pages was changed. Seneca’s portraits were made based on drawings of Paul Rubens who sketched them according to ancient models. Carrying out of a title card and portraits in both editions was commissioned to artists from Galle studio. In 1607 in Paris published was a collective edition of works by Lucius Annaeus Seneca the Philosopher and by Annaeus Seneca the Elder or the Rhetorician with comments. This book was published again in 1627. Antwerp’s editions have a title on a title page in an ornamental frame, and in Paris publications title pages have only an image of the author. The similar situation is with the Polish translation of Seneca’s tragedies in which on the left side of the frontispiece is a philosopher’s image. This edition was published in Toruń in 1696. The title pages of seventeenth-century editions of Seneca’s works presented in this article show that these books are valuable not only for their age of four hundred years and texts of the ancient author, but also because they are evidence of a vast role of art in the history of a book.

5

“Gothic” Elements in Seneca’s Tragedies

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Pypłacz J.

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 present article I discuss the remarkable fact that many of the motifs to be found in Seneca’s tragedies – such as a horrible death, a madman, an obsession or some supernatural agent – are also to be found in abundance in the work of “Gothic” authors such as Ann Radcliffe and Edgar Allan Poe. Indeed, these motifs are now commonly considered to be the hallmark of the Gothic genre. I also analyse some of the techniques which Seneca uses in order to arouse fear and stimulate the reader’s imagination, comparing them with those used by Poe and other Gothic writers.

6

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.

7

Trzy plany akcji w 'Fedrze' Seneki

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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.

8

Dziecko jako ofiara wojny w tragediach Eurypidesa i Seneki w świetle sceny z Astyanaksem

100%

Budzowska M., Łódzki U.

Collectanea Philologica

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2004

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vol. 08

LA

Dissertatur de aspectu infantis, qui belli victima est, apud Euripidem et Senecam.

9

Seneca’s Oedipus: Solving Ambiguity

75%

Wolf E.

Eirene. Studia Graeca et Latina

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2017

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vol. 53

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issue 1-2

199-217

EN

In this paper, the verb solvere, its forms and linguistic complements as they appear in Seneca’s tragedy Oedipus are examined. The verb reappears throughout the key moments of the play, but it also designates Oedipus’ ability to decipher signs, and thus marks him as a solver‑hero. Moreover, it creates an intertextual link between Seneca’s text and texts of Ovid and Vergil, especially with their presentation of Daedalus. Oedipus is shown not only as a subject turned into an object, but as a subject who realizes that he becomes also an object, and who is able to reassert his agency.

10

The Authority of Seneca in the Early Christian Argumentation

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Nehring P.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

The paper deals with the authority of Seneca as employed by the eminent early Christian writers in their apologetic as well as polemical works.

11

Rasgos del lenguaje coloquial en 'Apocolocyntosis' de Séneca el Joven

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Berger Ł.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 2

5-22

EN

The aim of the present work is to apply methods of discourse analysis into the study of the colloquial language in the Apocolocyntosis by Seneca the Younger. Using this linguistic approach, an effort will be taken to draft some lexical-semantic, syntactical and textual strategies the author of the satire worked with to approximate ts language to sermo cotidianus. A theoretical framework will be considered first so as to establish criteria for a stylistic analysis of the (conceptually) oral discourse in contrast with the (conceptually) written modalities. As a result the article will take into account the phenomena of emotiveness and subjectivity of the message, concreteness and vividness of the meaning as well as simplification and economy of the linguistic units employed. The main part of the work will deal with exemplification of methods of creating a colloquial feel of Apocolocynosis on the level of vocabulary, syntax and the organization of the discourse. In addition, some remarks will be made regarding psycholinguistic motivation for the particular construction of oral texts. To recapitulate this short overlook of colloquial phenomena the artistic efficiency of the Senecan satire will be emphasized. The polyphony and the vividness of oral registers in his work consequently are to be analyzed as means of a humoristic characterization.

12

Autorytet Seneki w argumentacji wczesnochrześcijańskiej

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Nehring P.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 2

49-60

EN

The analysis of the quotations from the works of this famous Roman philosopher and also some hints to them with a declaration of their authorship leads to the conclusion that his authority exceeded in the world of Christian literature far beyond the sphere of similarities between Stoic and Christian ethics. The early Church authors refer to Seneca almost exclusively in the dispute with the well educated opponents of Christianity who based their critics on the philosophical, very often Stoic tradition. Seneca is regarded in the circle of Christian Latin writers as the most important and almost obvious philosophical authority. Quoting his words in support of the arguments concerning various theological issues used to enhance the position in the debate.

13

Artysta na obrzeżach świata, czyli wszyscy jesteśmy Odyseuszami. Kilka refl eksji ogólnych w nawiązaniu do Cycerona, Owidiusza i Seneki

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Wesołowska E.

Studia Europaea Gnesnensia

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2010

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issue 1-2

141-147

PL

Th e paper discusses three grand personalities of antiquity: Cicero, Ovid and Seneca in the circumstances of their exile, Th eir attitudes to the punishment received (whose severity varied) were diverse. Nevertheless, all they left a trace in the shape of literary works and letters. Upon reading, one discovers ambiguous attitudes towards their per-sonal misfortunes. Finally, the situation of the exiles and their return may be compared with the archetypal fi gure of Odysseus.

14

A Good Person for a Crisis? On the Wisdom of the Stoic Sage (in Himself & for Us)

75%

Sharpe M.

Eidos. A Journal for Philosophy of Culture

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2021

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vol. 5

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issue 1

32-49

EN

Is the Stoic sage a possible or desirable ideal for contemporary men and women, as we enter into difficult times? Is he, as Seneca presents him, the very best person for a crisis? In order to examine these questions, Part 1 begins from what Irene Liu calls the “standard” modern conceptions of the sage as either a kind of epistemically perfect, omniscient agent, or else someone in possession of a specific arsenal of theoretical knowledge, especially concerning the physical world. We contest this contentious conception of the sage for being inconsistent with the Stoic conceptions of wisdom, the technai and knowledge which can be gleaned from the doxographic sources. In Part 2, we suggest that the wisdom of the Stoic sage reflects the Stoics’ “dispositional” conception of knowledge, their substantive conception of reason (Logos), and their sense of philosophy as above all an “exercise” or askêsis of a craft or technê for living. It is embodied in an ongoing exercise of examining one’s impressions for consistency with what one already knows, looking back to the natural prolêpseis with which all people are equipped. In Part 3, we show how only this account of the wisdom of the sage, at the epistemic level, enables us to understand how, in the non-doxographic texts led by Seneca’s De Constantia Sapientiae, the sage is celebrated above all for his ethical characteristics, and his ability to bear up in a crisis. Concluding reflections return to our framing concern, as to whether philosophy as a way of life, and the ancient ideal of the sage, can speak to us today not only as scholars, but as individuals called upon to live in difficult times. We suggest that they can and should remain sources of orientation, contestation, and inspiration.

15

Medea’s Inner Voice

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Menzi̇lci̇oğlu Ç. ğ.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2013

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vol. 23

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issue 2

129-140

PL

The story of Medea provides a wide range of themes to be explored and passion emerges as a frequent one. This article is based on the text Medea by the Stoic Seneca, yet in some parts comparisons will be drawn with Euripides’ tragedy of the same name as well. They treat the same theme in remarkably different ways: In the Senecan tragedy, Medea’s long soliloquies or monologues differ from Euripides’ version in that they reveal the protagonist’s inner conflict between the voices of passions and reason. This tragedy particularly focuses on the passions amor (love), ira (anger), furor (madness, insanity) and the consequent self-division. Therefore it can be analyzed from both psychological and philosophical aspects.

16

Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki (Luctus est istic tuus,/ crimen novercae. Divine and human madness of Heracles according to the dramas by Euripides and Seneca)

75%

Karamucka M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2013

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vol. 23

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issue 2

113-128

PL

The article aims to examine the tragedies: Ήρακλής μαινόμενος by Euripides and Hercules Furens by Seneca and exactly the different types of the madness, by which the main character is overcome in the above mentioned dramas. Although the article touches also on the issue of the insanity sent to the hero by Hera/ Juno, concentrates especially on the fit of madness, that is here defined as a human madness.

17

Seneca and Synaesthesia. The sensory aspect of the tragedies

75%

Pypłacz J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 1

69-82

PL

The present article discusses selected examples of the poetic means which Seneca uses in order to achieve the effect of synaesthesia in his tragedies. An analysis of these examples reveals that the poet makes the most of the Latin language’s semantic and musical potential and in doing so achieves quite spectacular sensory effects.

18

God and Self in Confessiones IV and Beyond: Therapeia, Self-Presence, and Ontological Contingency in Augustine, Seneca, and Heidegger

75%

Knotts M. W.

Vox Patrum

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2022

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vol. 82

113-144

EN

This article investigates Augustine’s reflection on the death of his friend in Confessiones IV. A critical treatment of this passage discloses the three key themes which will form the main substance of the analysis: self-presence, the contingency of being, and divine absence. Integrating philosophical and theological methodologies with an historical-critical treatment of Augustine’s work, this article relates Augustine’s insights to his foregoing classical context and his reception in posterity, with particular attention to Lucius Annaeus Seneca (ca. 4 BCE-65 CE) and Martin Heidegger (1889-1976). This investigation shows that these three figures are connected by an appreciation of how self-presence and ontological instability are constant facets of human life, though easily neglected. Each advocates a curriculum of philosophical training, whereby one learns to pacify the mind by an awareness of the true nature of mundane reality. This research contributes to the renewed appreciation of how the therapeutic aspects of classical philosophy influenced early Christian authors; illuminates a key episode in Augustine’s life en route to his conversion to Christianity; and raises questions about the “apophatic” dimensions of Augustine’s theology and anthropology.

19

Between medicine and rhetoric: therapeutic arguments in Roman Stoicism

71%

Łapiński K.

ARGUMENT: Biannual Philosophical Journal

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2019

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vol. 9

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issue 1

11-24

EN

In this paper, I intend to focus on some rhetorical strategies of argumentation which play crucial role in the therapeutic discourse of Roman Stoicism, namely in Musonius Rufus, Epictetus, Seneca, and Marcus Aurelius. Reference is made to Chaim Perelman’s view of ancient rhetoric as an art of inventing arguments. Moreover, it is pointed out that in rhetorical education (cf. Cicero, Ad Herennium, Quintilian, etc.) as well as in therapeutic discourse the concept of “exercise” and constant practice play a crucial role.

20

Furies et Muses dans la Thébaïde de Stace

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Delarue F.

Orbis Linguarum

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2018

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issue 50

187–197

EN

Furies and Muses in the Thebaid of Statius The Thebaid, by the Latin poet Statius, is at the crossroads between the traditional epic and the later “Psychomachiae”. Muses and Furies are fully fictional characters, yet they “symbolise” also inspiration and murderous madness. Thus, far from being outdated, this mythological epic refers to contemporary occupations.

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Z rozważań Seneki o Bogu

Ipsaque morte peior est mortis locus. The underworld in Seneca’s

„Listy, które czyta wielu”. Pseudokorespondencja św. Pawła z Seneką

O kilku frontyspisach XVII-wiecznych wydań dzieł Seneki

“Gothic” Elements in Seneca’s Tragedies

Three Settings in Seneca’s Phaedra

Trzy plany akcji w 'Fedrze' Seneki

Dziecko jako ofiara wojny w tragediach Eurypidesa i Seneki w świetle sceny z Astyanaksem

Seneca’s Oedipus: Solving Ambiguity

The Authority of Seneca in the Early Christian Argumentation

Rasgos del lenguaje coloquial en 'Apocolocyntosis' de Séneca el Joven

Autorytet Seneki w argumentacji wczesnochrześcijańskiej

Artysta na obrzeżach świata, czyli wszyscy jesteśmy Odyseuszami. Kilka refl eksji ogólnych w nawiązaniu do Cycerona, Owidiusza i Seneki

A Good Person for a Crisis? On the Wisdom of the Stoic Sage (in Himself & for Us)

Medea’s Inner Voice

Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki (Luctus est istic tuus,/ crimen novercae. Divine and human madness of Heracles according to the dramas by Euripides and Seneca)

Seneca and Synaesthesia. The sensory aspect of the tragedies

God and Self in Confessiones IV and Beyond: Therapeia, Self-Presence, and Ontological Contingency in Augustine, Seneca, and Heidegger

Between medicine and rhetoric: therapeutic arguments in Roman Stoicism

Furies et Muses dans la Thébaïde de Stace