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This collection of essays provides a valuable cross-section of recent research into the interrelationship of orality and literacy in the ancient Greek and Roman world.
Roman secondary education aimed principally at training future lawyers and politicians. Under the late Republic and the Empire, the main instrument was an import from Greece -- declamation, the making of practice-speeches on imaginary subjects. There were two types of such speeches: controversiae on law-court themes, suasoriae on delibertaive topics. On both types a prime source of our knowledge is the work of Lucius Annaeus Seneca, a Spaniard from Cordoba, father of the distinguished philosopher and stylist. Towards the end of his long life (?55 B.C. - ? A.D. 40) he collected together under the title (it would seem) Oratorum et rhetorum sententiae, divisiones, colores, ten books devoted to controversiae (some only preserved in excerpt) and at least one (surviving) to suasoriae. These books contained his memories of the famous rhetorical teachers and practitioners of his day: their lines of argument, their methods of approach, their idiosyncracies, and above all their epigrams. The extracts from the disclaimers, though scrappy, throw invaluable light on the influences that coloured the styles of most pagan (and many Christian) writers of the Empire. Unity is provided by Seneca's own contribution, the lively prefaces, engaging anecdote about speakers, writers and politicians, the brisk criticism of declamatory excess.
The 4th century BC Greek painter Parrhasius murdered his model--an old man who was his slave--to achieve, so the story goes, a more lifelike depiction of nature. The tale has inspired similar, more elaborate stories about both well known and obscure artists--including Leonardo da Vinci, Michelangelo and Rubens. Elements of the tale have appeared in theater, literature and film, as well as in comments by painters, historians, critics and anatomists. Challenging the archetype of the artist as a sympathetic lover of nature, this book examines the artist as cruel and murderous in service of art and ambition, and indirectly addresses a different understanding of the relationship between art and life.
This volume collects essays which are thematically connected through the work of Kent Emery Jr., to whom the volume is dedicated. A main focus lies on the attempts to bridge the gap between mysticism and a systematic approach to medieval philosophical thought. The essays address a wide range of topics concerning (a) the nature of the human soul (in philosophical and theological discourse); (b) medieval theories of cognition (natural and supernatural), self-knowledge and knowledge of God; (c) the human soul’s contemplation of, and union with, God; (d) the tradition of “the modes of theology” in the Middle Ages; (e) the relation between philosophy and theology. Various articles are dedicated to major figures of the 13th and 14th century philosophy, others display new material based on critical editions. Contributors are Jan A. Aertsen, Stephen Brown, Bernardo Carlos Bazán, William J. Courtenay, Alfredo Santiago Culleton, Silvia Donati, Bernd Goehring, Guy Guldentops, Daniel Hobbins, Roberto Hofmeister Pich, Georgi Kapriev, Steven P. Marrone, Stephen M. Metzger, Timothy B. Noone, Mikolaj Olszewski, Alessandro Palazzo, Garrett R. Smith, Andreas Speer, Carlos Steel, Loris Sturlese, Chris Schabel, Christian Trottmann, and Gordon A. Wilson.
The main literary dispute of the Renaissance pitted those Neo-Latin writers favoring Cicero alone as the apotheosis of Latin prose against those following an eclectic array of literary models. This Ciceronian controversy pervades the texts and letters collected for the first time in this volume.
Scrutinizes the procedures and protocols that establish "authority" and "objectivity"
Shows the unique perspective of Talmudic rabbis as they navigate between platonic objective truth and the realm of rhetorical argumentation.