Susanna Braund – författare

Soon after Nero''s accession in 54 CE, his tutor, the philosopher Seneca, addressed to his young pupil an essay called De Clementia in which he offered advice on how to behave in his new role. This is the first full philological edition of the De Clementia in English. It includes the text with apparatus criticus, a new translation, a substantial introduction, and detailed commentary on matters of textual criticism, literary criticism and issues of socio-political, historical, cultural, and philosophical significance. The notes illuminate Seneca''s language and thought through extensive citation of parallel passages from his other writings, from those of other imperial Latin authors, and from other relevant texts. The introduction includes discussion of Seneca''s life, relationship with Nero, writings, and philosophy; the date, genre, scope, structure, and argument of De Clementia; the concept of clementia; kingship theory in Greek literature and Republican Rome; and the work''s afterlife and influence.

Soon after Nero''s accession in 54 CE, his tutor, the philosopher Seneca, addressed to his young pupil an essay called De Clementia in which he offered advice on how to behave in his new role. This is the first full philological edition of the De Clementia in English. It includes the text with apparatus criticus, a new translation, a substantial introduction, and detailed commentary on matters of textual criticism, literary criticism and issues of socio-political, historical, cultural, and philosophical significance. The notes illuminate Seneca''s language and thought through extensive citation of parallel passages from his other writings, from those of other imperial Latin authors, and from other relevant texts. The introduction includes discussion of Seneca''s life, relationship with Nero, writings, and philosophy; the date, genre, scope, structure, and argument of De Clementia; the concept of clementia; kingship theory in Greek literature and Republican Rome; and the work''s afterlife and influence.

This is the first volume to offer a critical overview of the long and complicated history of translations of Virgil from the early modern period to the present day, transcending traditional studies of single translations or particular national traditions in isolation to offer an insightful comparative perspective. The twenty-nine essays in the collection cover numerous European languages - from English, French, and German, to Greek, Irish, Italian, Norwegian,Slovenian, and Spanish - but also look well beyond Europe to include discussion of Brazilian, Chinese, Esperanto, Russian, and Turkish translations of Virgil. While the opening two contributions lay down a broad theoretical and comparative framework, the majority conduct comparisons within a particularlanguage and combine detailed case studies with in-depth contextualization and theoretical background, showing how the translations discussed are embedded in their own cultures and historical moments. The final two essays are written from the perspective of contemporary translators, closing out the volume with a profound assessment not only of the influence exerted by the major Roman poet on later literature, but also why translation of a canonical author such as Virgil matters, not only as anational and transnational cultural phenomenon, but as a personal engagement with a literature of enduring power and relevance.

This is the first volume to offer a critical overview of the long and complicated history of translations of Virgil from the early modern period to the present day, transcending traditional studies of single translations or particular national traditions in isolation to offer an insightful comparative perspective. The twenty-nine essays in the collection cover numerous European languages - from English, French, and German, to Greek, Irish, Italian, Norwegian,Slovenian, and Spanish - but also look well beyond Europe to include discussion of Brazilian, Chinese, Esperanto, Russian, and Turkish translations of Virgil. While the opening two contributions lay down a broad theoretical and comparative framework, the majority conduct comparisons within a particularlanguage and combine detailed case studies with in-depth contextualization and theoretical background, showing how the translations discussed are embedded in their own cultures and historical moments. The final two essays are written from the perspective of contemporary translators, closing out the volume with a profound assessment not only of the influence exerted by the major Roman poet on later literature, but also why translation of a canonical author such as Virgil matters, not only as anational and transnational cultural phenomenon, but as a personal engagement with a literature of enduring power and relevance.

This is the first volume to offer a critical overview of the long and complicated history of translations of Virgil from the early modern period to the present day, transcending traditional studies of single translations or particular national traditions in isolation to offer an insightful comparative perspective. The twenty-nine essays in the collection cover numerous European languages - from English, French, and German, to Greek, Irish, Italian, Norwegian, Slovenian, and Spanish - but also look well beyond Europe to include discussion of Brazilian, Chinese, Esperanto, Russian, and Turkish translations of Virgil. While the opening two contributions lay down a broad theoretical and comparative framework, the majority conduct comparisons within a particular language and combine detailed case studies with in-depth contextualization and theoretical background, showing how the translations discussed are embedded in their own cultures and historical moments. The final two essays are written from the perspective of contemporary translators, closing out the volume with a profound assessment not only of the influence exerted by the major Roman poet on later literature, but also why translation of a canonical author such as Virgil matters, not only as a national and transnational cultural phenomenon, but as a personal engagement with a literature of enduring power and relevance.

Soon after Nero's accession in 54 CE, his tutor, the philosopher Seneca, addressed to his young pupil an essay called De Clementia in which he offered advice on how to behave in his new role. This is the first full philological edition of the De Clementia in English. It includes the text with apparatus criticus, a new translation, a substantial introduction, and detailed commentary on matters of textual criticism, literary criticism and issues of socio-political, historical, cultural, and philosophical significance. The notes illuminate Seneca's language and thought through extensive citation of parallel passages from his other writings, from those of other imperial Latin authors, and from other relevant texts. The introduction includes discussion of Seneca's life, relationship with Nero, writings, and philosophy; the date, genre, scope, structure, and argument of De Clementia; the concept of clementia; kingship theory in Greek literature and Republican Rome; and the work's afterlife and influence.

Soon after Nero's accession in 54 CE, his tutor, the philosopher Seneca, addressed to his young pupil an essay called De Clementia in which he offered advice on how to behave in his new role. This is the first full philological edition of the De Clementia in English. It includes the text with apparatus criticus, a new translation, a substantial introduction, and detailed commentary on matters of textual criticism, literary criticism and issues of socio-political, historical, cultural, and philosophical significance. The notes illuminate Seneca's language and thought through extensive citation of parallel passages from his other writings, from those of other imperial Latin authors, and from other relevant texts. The introduction includes discussion of Seneca's life, relationship with Nero, writings, and philosophy; the date, genre, scope, structure, and argument of De Clementia; the concept of clementia; kingship theory in Greek literature and Republican Rome; and the work's afterlife and influence.

Anger is found everywhere in the ancient world, starting with the very first word of the Iliad and continuing through all literary genres and every aspect of public and private life. Yet it is only recently, as a variety of disciplines start to devote attention to the history and nature of the emotions, that Classicists, ancient historians and ancient philosophers have begun to study anger in antiquity with the seriousness and attention it deserves. This volume brings together a number of significant studies by authors from different disciplines and countries, on literary, philosophical, medical and political aspects of ancient anger from Homer until the Roman Imperial Period. It studies some of the most important ancient sources and provides a paradigmatic selection of approaches to them, and should stimulate further research on this important subject in a number of fields.

Anger is found everywhere in the ancient world, starting with the very first word of the Iliad and continuing through all literary genres and every aspect of public and private life. Yet it is only recently, as a variety of disciplines start to devote attention to the history and nature of the emotions, that Classicists, ancient historians and ancient philosophers have begun to study anger in antiquity with the seriousness and attention it deserves. This volume brings together a number of significant studies by authors from different disciplines and countries, on literary, philosophical, medical and political aspects of ancient anger from Homer until the Roman Imperial Period. It studies some of the most important ancient sources and provides a paradigmatic selection of approaches to them, and should stimulate further research on this important subject in a number of fields.

Never have there been so many different types of translations of Greek and Latin literature into English. Most people experience Homer and Greek tragedy for the first time through translations. New versions of Vergil and Ovid have become best sellers. This book examines the literary and cultural environment underlying the various kinds of translation - from 'faithful' and 'equivalent' through 'imitation' to 'adaptation' and 'version' - discussing the extent to which translations have been regarded as creative work in their own right and their impact in the work of modern writers such as Harrison, Heaney, Hughes and Walcott. Key themes include the challenge presented by translations to conventional interpretations of the classical canon; the implications of translating across genres - for example in the staging of epic; and the role of translations in twentieth-century conflicts. Lorna Hardwick suggests that translations from Greek and Latin literature are catalysts in the refiguring of both poetic and political awareness and that in transplanting myths and metaphors into disparate cultures, translations energise new senses of cultural identity.

Why should Greek tragedy matter now? This book opens a dialogue between the tragic theatre in ancient Athens and the multiple performances of the modern world. In five interconnected chapters, Rush Rehm engages tragedy on its own terms, using our oldest theatre as inspiration for how we might shape the theatre of the future. Part analysis, part polemic, this book engages the aesthetic, political and ethical challenges of Greek tragedy as a means of confronting what tomorrow's theatre can do.

Myths reflect, reinforce, and sometimes subvert gender ideologies and so have an influence in the 'real world'. This is true in the present no less than when the Greek and Roman myths were created. The struggles to redefine gender roles and identities in our own time are inevitably reflected in our interpretations and retellings of these classical myths. Using the new lenses provided by gender studies and the diverse forms of feminism, Lillian Doherty re-examines some of the major approaches to myth interpretation in the twentieth century: psychological, ritualist, 'charter', structuralist and folklorist. 'Popular' uses of classical mythology, from television and comic books to the evocation of goddesses in Jungian psychology, are also explored.

What sort of people were able to grab the attention of the public in the ancient world? How was celebrity achieved? What methods did people use to achieve it? Robert Garland turns the spotlight on the careers of some of the most successful and colourful self-promoters ever to have lived, including Alcibiades, Socrates, Alexander the Great, Julius Caesar, Cleopatra, Augustus, Jesus, Nero and Theodosia, and investigates the secrets of their success. He also looks at ways in which other highly talented individuals turned themselves into celebrities, including sports personalities, entertainers, philosophers, founders of new religions, and internationally renowned prostitutes. The reader may be forgiven for supposing that celebrity is a phenomenon that has no equivalent in antiquity. This book proves that it did!

In this fascinating addition to the "Classical Inter/faces" series, Karelisa Hartigan suggests that drama was regularly performed in the theatres built within or adjacent to the ancient sanctuaries of Asklepios. She argues that a pageant which showed the enactment of the god healing prompted the dream therapy the patient experienced at the sanctuary. Patients who viewed this drama were ready to receive the nightly ministrations of the deity, his attendants and his animals while they slept in the dormitory at the Asklepieion. To support her thesis, Hartigan discusses the mind-body relationship in the healing process, a relationship the medical profession is beginning to recognize. She concludes by presenting first-hand material based on her experience doing Playback Theatre for patients at Shands Hospital at the University of Florida. In performing improvisational scenes at bedside or in a community space, she has witnessed how the mini-dramas lift the patients' spirits and offer them hope for a successful outcome to their illness.

A Companion to Persius and Juvenal breaks new ground in its in-depth focus on both authors as "satiric successors"; detailed individual contributions suggest original perspectives on their work, and provide an in-depth exploration of Persius'' and Juvenal''s afterlives. Provides detailed and up-to-date guidance on the texts and contexts of Persius and Juvenal Offers substantial discussion of the reception of both authors, reflecting some of the most innovative work being done in contemporary Classics Contains a thorough exploration of Persius'' and Juvenal''s afterlives

A Companion to Persius and Juvenal breaks new ground in its in-depth focus on both authors as "satiric successors"; detailed individual contributions suggest original perspectives on their work, and provide an in-depth exploration of Persius'' and Juvenal''s afterlives. Provides detailed and up-to-date guidance on the texts and contexts of Persius and Juvenal Offers substantial discussion of the reception of both authors, reflecting some of the most innovative work being done in contemporary Classics Contains a thorough exploration of Persius'' and Juvenal''s afterlives

A Companion to Persius and Juvenal breaks new ground in its in-depth focus on both authors as "satiric successors"; detailed individual contributions suggest original perspectives on their work, and provide an in-depth exploration of Persius' and Juvenal's afterlives. Provides detailed and up-to-date guidance on the texts and contexts of Persius and JuvenalOffers substantial discussion of the reception of both authors, reflecting some of the most innovative work being done in contemporary ClassicsContains a thorough exploration of Persius' and Juvenal's afterlives

The poetry of Horace was central to Victorian male elite education and the ancient poet himself, suitably refashioned, became a model for the English gentleman. Horace and the Victorians examines the English reception of Horace in Victorian culture, a period which saw the foundations of the discipline of modern classical scholarship in England and of many associated and lasting social values. It shows that the scholarly study, translation and literary imitation of Horace in this period were crucial elements in reinforcing the social prestige of Classics as a discipline and its function as an indicator of ‘gentlemanly’ status through its domination of the elite educational system and its prominence in literary production.The book ends with an epilogue suggesting that the framework of study and reception of a classical author such as Horace, so firmly established in the Victorian era, has been modernised and ‘democratised’ in recent years, matching the movement of Classics from a discipline which reinforces traditional and conservative social values to one which can be seen as both marginal and liberal.

Oedipus, king of Thebes, is one of the giant figures of ancient mythology. Through the centuries, his story has inspired works of epic poetry, lyric poetry, tragedy, opera, a gospel musical and more. The myth has been famously deployed in psychology by Sigmund Freud. It may not be too bold to claim that Oedipus is the name from Greco-Roman mythology best known beyond the academy at the present time, thanks to Freud's famous phrase 'the Oedipus complex'. The most famous version of the Oedipus myth from antiquity is the Greek play by Sophocles. But there is another version, the Latin drama by the Roman philosopher and politician Seneca.Seneca's version is an entirely different treatment from that of Sophocles and reflects concerns special to the author and his Roman audience in the first century AD. Moreover, the play actually exercised a much greater influence on European literature and thought than has usually been suspected. This book offers a compact and incisive study of the multi-faceted Oedipus myth, of Seneca as dramatist, of the distinctive characteristics of Seneca's play and of the most important aspects of the reception of the play in European drama and culture. The scope of the book ranges chronologically from Homer's treatment of Oedipus myth in the Odyssey down to a twenty-first century Senecan treatment by a Lebanese Canadian dramatist. No knowledge of Latin or other foreign languages is required.

Oedipus, king of Thebes, is one of the giant figures of ancient mythology. Through the centuries, his story has inspired works of epic poetry, lyric poetry, tragedy, opera, a gospel musical and more. The myth has been famously deployed in psychology by Sigmund Freud. It may not be too bold to claim that Oedipus is the name from Greco-Roman mythology best known beyond the academy at the present time, thanks to Freud's famous phrase 'the Oedipus complex'. The most famous version of the Oedipus myth from antiquity is the Greek play by Sophocles. But there is another version, the Latin drama by the Roman philosopher and politician Seneca.Seneca's version is an entirely different treatment from that of Sophocles and reflects concerns special to the author and his Roman audience in the first century AD. Moreover, the play actually exercised a much greater influence on European literature and thought than has usually been suspected. This book offers a compact and incisive study of the multi-faceted Oedipus myth, of Seneca as dramatist, of the distinctive characteristics of Seneca's play and of the most important aspects of the reception of the play in European drama and culture. The scope of the book ranges chronologically from Homer's treatment of Oedipus myth in the Odyssey down to a twenty-first century Senecan treatment by a Lebanese Canadian dramatist. No knowledge of Latin or other foreign languages is required.

Oedipus, king of Thebes, is one of the giant figures of ancient mythology. Through the centuries, his story has inspired works of epic poetry, lyric poetry, tragedy, opera, a gospel musical and more. The myth has been famously deployed in psychology by Sigmund Freud. It may not be too bold to claim that Oedipus is the name from Greco-Roman mythology best known beyond the academy at the present time, thanks to Freud''s famous phrase ''the Oedipus complex''. The most famous version of the Oedipus myth from antiquity is the Greek play by Sophocles. But there is another version, the Latin drama by the Roman philosopher and politician Seneca.Seneca''s version is an entirely different treatment from that of Sophocles and reflects concerns special to the author and his Roman audience in the first century AD. Moreover, the play actually exercised a much greater influence on European literature and thought than has usually been suspected. This book offers a compact and incisive study of the multi-faceted Oedipus myth, of Seneca as dramatist, of the distinctive characteristics of Seneca''s play and of the most important aspects of the reception of the play in European drama and culture. The scope of the book ranges chronologically from Homer''s treatment of Oedipus myth in the Odyssey down to a twenty-first century Senecan treatment by a Lebanese Canadian dramatist. No knowledge of Latin or other foreign languages is required.

Oedipus, king of Thebes, is one of the giant figures of ancient mythology. Through the centuries, his story has inspired works of epic poetry, lyric poetry, tragedy, opera, a gospel musical and more. Famous today thanks to Sigmund Freud''s famous phrase ''the Oedipus complex'', the most famous version of the Oedipus myth from antiquity is the Greek play by Sophocles. But there is another version, the Latin drama by the Roman philosopher and politician Seneca.Seneca''s play reflects concerns special to the author and his Roman audience. Moreover, it exercised a much greater influence on European literature and thought than has usually been suspected. This book offers a compact and incisive study of the multi-faceted Oedipus myth, of Seneca as dramatist, of the play''s distinctive characteristics and of the most important aspects of the reception of the play in European drama and culture to the current day. No knowledge of Latin or other foreign languages is required.

This radical series shows how Classical ideas and material have helped to shape the modern world. The interdisciplinary approach makes stimulating reading for all who welcome the challenge offered by new perspectives on Classical culture. Today we attribute a tragic quality to many things - works, experiences, values, events - but we forget how modern this idea is. This book traces the rise of the tragic idea from early Romanticism to late Modernism. Focusing on succinct, major statements, it maps one of the most absorbing philosophical conversations in modernity: the debate about the tragic meaning of life. This conversation has crossed geographical, linguistic, ideological and religious borders to bring thinkers together in an inquiry into the inner contradictions of liberty. While originally the tragic idea stood for the conflict of freedom and necessity, it gradually absorbed other irreconcilable dialectical collisions. It turned tragedy from a genre into a problem for ethics, aesthetics, criticism, classics, politics, anthropology and psychology, to name but a few.Scholars in these fields today will be fascinated to find human responsibility caught in the tragic web of modern dilemmas. Classicists in particular will be intrigued by the story of how, over the last two centuries, tragedy has acquired a second, parallel life away from the stage.

This radical series shows how Classical ideas and material have helped to shape the modern world. The interdisciplinary approach makes stimulating reading for all who welcome the challenge offered by new perspectives on Classical culture. Today we attribute a tragic quality to many things - works, experiences, values, events - but we forget how modern this idea is. This book traces the rise of the tragic idea from early Romanticism to late Modernism. Focusing on succinct, major statements, it maps one of the most absorbing philosophical conversations in modernity: the debate about the tragic meaning of life. This conversation has crossed geographical, linguistic, ideological and religious borders to bring thinkers together in an inquiry into the inner contradictions of liberty. While originally the tragic idea stood for the conflict of freedom and necessity, it gradually absorbed other irreconcilable dialectical collisions. It turned tragedy from a genre into a problem for ethics, aesthetics, criticism, classics, politics, anthropology and psychology, to name but a few.Scholars in these fields today will be fascinated to find human responsibility caught in the tragic web of modern dilemmas. Classicists in particular will be intrigued by the story of how, over the last two centuries, tragedy has acquired a second, parallel life away from the stage.