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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.
Ancient declamation—the practice of delivering speeches on the basis of fictitious scenarios—defies easy categorization. It stands at the crossroads of several modern disciplines. It is only within the past few decades that the full complexity of declamation, and the promise inherent in its study, have come to be recognized. This volume, which contains thirteen essays from an international team of scholars, engages with the multidisciplinary nature of declamation, focusing in particular on the various interactions in declamation between rhetoric, literature, law, and ethics. Contributions pursue a range of topics, but also complement each other. Separate essays by Brescia, Lentano, and Lupi explore social roles—their tensions and expectations—as defined through declamation. With similar emphasis on historical circumstances, Quiroga Puertas and Tomassi consider the adaptation of rhetorical material to frame contemporary realities. Schwartz draws attention to the sometimes hazy borderline between declamation and the courtroom. The relationship between laws and declamation, a topic of abiding importance, is examined in studies by Berti, Breij, and Johansson. Also with an eye to the complex interaction between laws and declamation, Pasetti offers a narratological analysis of cases of poisoning. Citti discovers the concept of natural law represented in declamatory material. While looking at a case of extreme cruelty, Huelsenbeck evaluates the nature of declamatory language, emphasizing its use as an integral instrument of performance events. Zinsmaier looks at discourse on the topic of torture in rhetorical and legal contexts.
As a genre situated at the crossroad of rhetoric and fiction, declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of (Ps)Quintilian, this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. It is of interest to students and scholars of Rhetoric and Roman Literature.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977.
The question of why Seneca wrote tragedy has been debated since at least the 13th century. Since Seneca was a Stoic, critics assumed he wrote with the standard Stoic theory of literature as education in philosophy in mind. This book argues that Seneca was influenced by Aristotle's famous defense of tragedy against Plato's critique.
Explores the crucial role played by rhetorical education in turning Cicero into a literary and political symbol after his death.
Reading Roman Declamation: Seneca the Elder provides a comprehensive critical overview of Roman declamation, as transmitted through Seneca the Elder's Controversiae and Suasoriae, in fifteen accessible and up-to-date chapters by leading international scholars that seek to define the fundamentals of declamation as a literary genre.