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Academic literature on the topic 'Latin tragedies'

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Published: 18 May 2024

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Journal articles on the topic "Latin tragedies"

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Margelidon, Cécile. "Varron, Ennius et l’étymologie." Vita Latina 201, no. 1 (2021): 164–81. http://dx.doi.org/10.3406/vita.2021.1966.

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The focus of this article is to understand why, in the seventh book of the De Lingua Latina, the Latin grammarian Varro severely criticizes Ennius for having used two etymological wordplays. Which is the scope of this scanty blame on the tragedian ? We will try to perceive the way Varro understood and detected etymological wordplays in Ennius’ tragedies, but also to appreciate the evolution of this stylistic figure in Rome.
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Leroux, Virginie. "Les premières traductions de l’Iphigénie à Aulis d’Euripide, d’Érasme à Thomas Sébillet." Renaissance and Reformation 40, no. 3 (November 24, 2017): 243–64. http://dx.doi.org/10.33137/rr.v40i3.28743.

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En 1506, Érasme est le premier à traduire en latin des tragédies grecques entières, en l’occurrence deux tragédies d’Euripide, Hécube et Iphigénie à Aulis. S’il adopte pour l’Hécube une traduction vers à vers, il opte dans l’Iphigénie pour une traduction plus détaillée en veillant à produire dans la langue cible les effets de l’original. Dans son ouvrage sur L’Hécube d’Euripide en France, Bruno Garnier a montré comment la traduction latine d’Érasme a influencé la première traduction française de l’Hécube, attribuée à Guillaume Bochetel (1544). Cet article est consacré aux premières traductions de l’Iphigénie à Aulis et, en particulier, à celle de Thomas Sébillet qui se mesure à Érasme pour démontrer, contre Joachim Du Bellay, la capacité d’une traduction poétique à illustrer la langue française. In 1506, Erasmus was the first person to translate complete Greek tragedies into Latin, in this case two tragedies by Euripides, Hecuba and Iphigenia at Aulis. Though he used a verse by verse translation for Hecuba, he opted in Iphigenia for a more detailed translation, taking care to reproduce in the target language the effects of the original. In his work on Euripides’ Hecuba in France, Bruno Garnier has shown how the Latin translation of Erasmus influenced the first French translation of Hecuba, attributed to Guillaume Bochetel (1544). This article addresses the first translations of Iphigenia at Aulis and in particular that of Thomas Sébillet. He pitted himself against Erasmus to demonstrate, contrary to Joachim Du Bellay, the capacity of a poetic translation to exemplify the French language.
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Tullis, LaMond. "Illicit drugs and vulnerable communities." International Review of the Red Cross 34, no. 301 (August 1994): 368–73. http://dx.doi.org/10.1017/s0020860400078694.

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In the 1980s and 1990s vulnerable people worldwide have suffered assaults on their basic survival and civilized existence. Ethnic upheavals have convulsed the former Yugoslavia and new republics of the former USSR. The struggles have produced human tragedies beyond calculation in Rwanda. Political terrorists have operated freely in some Latin American, Middle Eastern, and Asian countries. Hunger, disease, ethnic strife, and praetorian governments continue to stalk much of Africa, Asia, and Latin America. Economic restructuring has marginalized citizens of some countries, placing people even further below already abysmal poverty lines. Families and civilized social values continue to disintegrate in the inner cities of the United States of America where income disparities between the poor and everyone else are increasing, threatening to create an underclass extending well beyond current geographical confines.
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Valls-Russell, Janice. "‘Even Seneca hymselfe to speke in englysh’: John Studley's Hippolytus and Agamemnon." Translation and Literature 29, no. 1 (March 2020): 25–43. http://dx.doi.org/10.3366/tal.2020.0407.

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John Studley translated four of Seneca's plays into English: Agamemnon, Medea, Hippolytus (as Phaedra was known in the Renaissance), and Hercules Oetaeus, and these were later included in Thomas Newton's collection Seneca His Tenne Tragedies, 1581. This essay focuses on Studley's Hippolytus, with intersecting discussions of his Agamemnon. It looks at the Latin texts and commentaries Studley may have been using, and shows that his translation incorporates elements of intertextuality and imitation that expand on Seneca's own engagement with Ovid. Tracing how Seneca's and Studley's characters find models and counter-models in other mythological figures, the discussion draws attention to Studley's foregrounding of generational confusion, and his handling of gender.
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Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.

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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of writing that facilitated the translators’ Latin learning, personal interactions, and political thinking and involvement.
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Nassichuk, John. "Traduire la Philanira de Claude Roillet, ou, le laboratoire de la forme poétique théâtrale." Renaissance and Reformation 40, no. 3 (November 24, 2017): 217–42. http://dx.doi.org/10.33137/rr.v40i3.28742.

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Claude Roillet, professeur de lettres aux collèges de Bourgogne et de Boncourt, fit paraître en 1556 le recueil de ses oeuvres de poète et de dramaturge sous le titre Varia Poemata (Paris: Guillaume Julien). Cette collection contient notamment quatre tragédies latines, intitulées Philanira, Petrus, Aman et Catharina. De ces quatre pièces, seule la première, Philanira, devait faire l’objet d’une traduction française publiée en 1563 aux presses parisiennes de Richard Thomas, puis rééditée, toujours à Paris, chez Nicolas Bonfons en 1577. La présente étude examinera les détails de cette version française quant à (1) l’adaptation en vernaculaire des formes métriques latines variées dont use l’auteur et (2) l’équivalence des formulations lexicales, voire les stratégies d’imitation, dans un texte français qui fait preuve d’une tendance à l’amplification à partir de la composition latine originelle. In 1556, Claude Roillet, a literature professor at the Collège de Bourgogne and Collège de Boncourt, published a collection of his works as a poet and dramatist under the title Varia Poemata (Paris: Guillaume Julien). This collection notably contained four Latin tragedies, which were titled Philanira, Petrus, Aman, and Catharina. Of these four works, only the first, Philanira would become the subject of a French translation published in 1563 by the Parisian press of Richard Thomas, then republished—again in Paris—by Nicolas Bonfons in 1577. This paper will examine the particulars of this French version in terms of (1) the conversion into the vernacular of the various Latin metrical forms that the author uses and (2) the equivalency of lexical expressions, and even the strategies of imitation, in a French text that demonstrates a tendency to amplify the original Latin composition.
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Durdel, Patrick. "“Touching the Author's Mind”: Judgment and Intention in Jasper Heywood's Translations of Seneca." Journal of Medieval and Early Modern Studies 53, no. 3 (September 1, 2023): 623–40. http://dx.doi.org/10.1215/10829636-10689701.

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This essay draws on the prefatory material in Jasper Heywood's translations of three Senecan tragedies—Troas (1559), Thyestes (1560), and Hercules Furens (1561)—to show that a focus on judgment helps to expound Heywood's theory of translation. The judgments envisioned in these prefatory texts, namely, the evaluative judgments of others and the philological judgments required of the translator, highlight Heywood's understanding of Seneca's original intention as the only true measure of the English translations. For Heywood, there can be no “intentional fallacy” because intention is the only remedy against the difficulties of translation (complexity of the Latin original, deficient sources, unreliability of the printed text). Ultimately Heywood's efforts to approximate Seneca's original “sense,” culminating in the creation of a fictional Seneca, endow the translator with an authorial intention.
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Ibragimova, Karina R. "Geoffrey Chaucer’s Little Tragedies: the Category of the Tragic in ‘The Monk’s Tale’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 80–88. http://dx.doi.org/10.17072/2073-6681-2021-4-80-88.

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The article examines the implementation of the category of the tragic in The Monk’s Tale, which is part of The Canterbury Tales by Geoffrey Chaucer. The purpose of this work is to clarify the concepts ‘tragedy’ and ‘the tragic’ in the culture of the Late Middle Ages, as well as their interpretation in Chaucer’s oeuvre. The focus is on the specific understanding of these terms in the Middle Ages: since the genre of dramatic tragedy became a thing of the past along with Antiquity, the word ‘tragedy’ began to be used by poets and scribes of the Middle Ages to specify a distinct type of narration that deals with the power of fate as the main theme. The need to identify what works Chaucer used as examples to follow, as well as to study the peculiarity of the category of the tragic in The Monk’s Tale, determined the choice of methods for the analysis of the material. The research employs culture-historical, comparative-typological, and biographical methods of analysis. It has been established that, relying on the Latin (Boethius) and Italian models (Francesco Petrarca, Giovanni Boccaccio), Chaucer perceived ‘tragedy’ as a variation of the ‘fall of princes’ story. Both Chaucer and Boccaccio were interested in the study of earthly life, the search for a connection between human behavior and human fate, and the image of Fortune. However, the Italian poet did not call his works ‘tragedies’, while Chaucer did: his character, the Monk, tells seventeen stories about the victims of Fortune, among which there were both sinners and relatively innocent people. Our analysis has shown that the main point in Chaucer’s understanding of the category of the tragic is the fundamental incomprehensibility of the ways of fate. Focusing on the category of the tragic, Chaucer receives the opportunity to explore the irrationality of human existence.
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Presnova, N. V. "Ancient Greek terms of authority in Sophocles’ tragedies (based on the 16th-century Latin translations of Antigone and Oedipus Tyrannus)." Indo-European linguistics and classical philology 27 (2023): 936–45. http://dx.doi.org/10.30842/ielcp230690152765.

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Hall, Edith. "Some Functions of Rhetorical Questions in Lysias’ Forensic Orations." Trends in Classics 14, no. 2 (November 11, 2022): 349–73. http://dx.doi.org/10.1515/tc-2022-0015.

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Abstract The rhetorical question, often assumed to have been favoured by the sophist Gorgias, became a fundamental feature of ancient rhetoric in both Greek and Latin. By the time of Senecan tragedy, an accumulation of as many as seventeen serial rhetorical questions can be found expressing extremes of emotion, especially indignation or despair. Rhetorical questions in some archaic and classical Greek authors have received limited attention, for example, in the Iliad those delivered by Thersites in exciting indignation (2.225–233) and by the authorial voice to create pathos in asking Patroclus about the Trojans he has killed (16.692–693); the string of questions Aphrodite humorously asks in Sappho 1; the ritual queries in the Derveni Papyrus; the series of two to three questions found (often near the beginning of speeches) in the agōns of some tragedies. But the increasing variety and sophistication of the deployment of the rhetorical question in the Greek orators has been surprisingly neglected. This article analyses some of the different uses to which Lysias puts rhetorical questions especially in relation to characterisation in his orations and argues that they represent a considerable advance on the practice of any predecessor in any genre.
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Dissertations / Theses on the topic "Latin tragedies"

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Chakrabarty, Sushanta Kumar. "The Influence of Greek and Latin tragedies on English drama." Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1209.

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Lennartz, Klaus. "Non verba sed vim : kritisch-exegetische Untersuchungen zu den Fragmenten archaischer römischer Tragiker /." Stuttgart : Teubner, 1994. http://books.google.com/books?id=uHJfAAAAMAAJ.

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Falcone, Maria Jennifer. "Il mito di Medea nella tragedia romana arcaica." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3421720.

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The PhD thesis is an edition with introduction and commentary of the tragic Latin fragments concerning the myth of Medea. The different aspects of Medea in her literary development in Rom are analysed: her relations with the theme of magic; the similarities with local Goddesses (particularly the Marsic Angitia); her difficult relationship with her family; her magic power and her weakness towards love; lastly, her crimes. The tragedies are: Ennius’ Medea exul, Pacuvius’ Medus and Accius’ Medea sive Argonautae. An introduction concerns general problems; the text of the fragments is accompanied by a complete apparatus criticus; the commentary gives indications about the original context, textual and metrical problems; linguistic, phonostilistic and rhetoric elements; the analysis of the relations with the Greek model (if possible); the examination of themes, which are particularly interesting for the Republican dramatists.
La tesi consiste in un’edizione con introduzione e commento dei frammenti tragici latini arcaici incentrati sulla figura di Medea. Delineando per sommi capi le caratteristiche di Medea che sembra siano state valorizzate a Roma, si è riservata particolare attenzione ai temi della magia e dei rapporti di Medea con la dea marsica Angitia, al suo difficile legame con la famiglia, al contrasto tra il grande potere della donna colchica e la sua debolezza di fronte all’amore, nonché – infine – alla descrizione dei suoi delitti. Le tragedie prese in esame sono la Medea exul di Ennio, il Medus di Pacuvio e la Medea sive Argonautae di Accio. Di esse si fornisce un’introduzione relativa a problemi generali; un testo critico; un commento, in cui si tenta di contestualizzare il frammento, si approfondiscono questioni critico-testuali, metriche, linguistiche, stilistiche e retoriche, si analizzano le modalità del vertere e, infine, si approfondiscono temi di particolare interesse per il teatro latino repubblicano. Viene dato particolare rilievo nel commento agli aspetti drammaturgici, agli elementi epici presenti in tragedia, alla presenza di spie linguistiche pertinenti alla sfera sacrale.
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Degiovanni, Lucia. "Hercules Oetaeus, una tragedia attribuita a Seneca. Introduzione, testo e commento dei vv. 1-705." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86165.

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BOCCHI, GIUSEPPE. "PHILOSOPHIA MEDICA E MEDICINA RHETORICA IN SENECA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/526.

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E' possibile approfondire la conoscenza del pensiero senecano tenendo conto delle conoscenze mediche del filosofo. L'influenza della scuola medica Pneumatica, di ispirazione stoica, consente di dimostrare che le passioni come l'ira non sono per Seneca solo malattie dell'anima, ma sindromi psicofisiche che coinvolgono tutti i livelli dell'individuo, alla luce di un monismo corpo- anima possibile solo alla luce delle dottrine Pneuamtiche. Malattie come la mania e la melancolia, inoltre, hanno un decorso particolare che oltre ad influenzare la visione senecana dell'ira, permette anche di comprendere il carattere apparentemente incoerente di alcuni personaggi delle tragedie (Clitennestra, Atreo, Fedra e Medea), che possono essere considerati traduzioni drammaturgiche di sindromi maniaco- depressive.
It's possible to deepen our knowledge of Senecan thought by considering his medical knowledge. The influence of the Pneumatic school, inspired by Stoic philosophy, makes possible to show that passions like anger are for Seneca not only soul diseases, but also a kind of psycho- physical syndrome that concerns every aspect of the individual in the light of a psycho- physical monism that is possible to understand only through the Pneumatic doctrines. Diseases like mania and melancholy, moreover, have a peculiar development which, influencing Senecan view of anger, let us understand the apparently incoherent features of some characters of the tragedies (Clitaemestra, Atreus, Phaedra, Medea) who can be considered dramatic translations of manic- depressive syndromes
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BOCCHI, GIUSEPPE. "PHILOSOPHIA MEDICA E MEDICINA RHETORICA IN SENECA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/526.

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E' possibile approfondire la conoscenza del pensiero senecano tenendo conto delle conoscenze mediche del filosofo. L'influenza della scuola medica Pneumatica, di ispirazione stoica, consente di dimostrare che le passioni come l'ira non sono per Seneca solo malattie dell'anima, ma sindromi psicofisiche che coinvolgono tutti i livelli dell'individuo, alla luce di un monismo corpo- anima possibile solo alla luce delle dottrine Pneuamtiche. Malattie come la mania e la melancolia, inoltre, hanno un decorso particolare che oltre ad influenzare la visione senecana dell'ira, permette anche di comprendere il carattere apparentemente incoerente di alcuni personaggi delle tragedie (Clitennestra, Atreo, Fedra e Medea), che possono essere considerati traduzioni drammaturgiche di sindromi maniaco- depressive.
It's possible to deepen our knowledge of Senecan thought by considering his medical knowledge. The influence of the Pneumatic school, inspired by Stoic philosophy, makes possible to show that passions like anger are for Seneca not only soul diseases, but also a kind of psycho- physical syndrome that concerns every aspect of the individual in the light of a psycho- physical monism that is possible to understand only through the Pneumatic doctrines. Diseases like mania and melancholy, moreover, have a peculiar development which, influencing Senecan view of anger, let us understand the apparently incoherent features of some characters of the tragedies (Clitaemestra, Atreus, Phaedra, Medea) who can be considered dramatic translations of manic- depressive syndromes
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DI, RAIMO Luigi. "Naso cothurnatus. Echi tragici e prassi spettacolare nell'epistolografia ovidiana dell'esilio." Doctoral thesis, Università degli studi di Cassino, 2021. http://hdl.handle.net/11580/83989.

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Ovid's poetic career testifies a great contamination among genres, from the first works to the exilic ones. Also during his 'relegatio', he continues his experimentation. That allows us to read Tristia and Epistulae ex Ponto like a product of rhetoric, elegiac and tragic rules. The aim of this PhD dissertation is to value the influence of the ancient theatre (especially tragedy) on the tale of Ovid's misfortune, analizyng the concept of 'error' through the tragic element of ἁμαρτία, examining the description of Tomi and the settings of tragic plots, comparing the portrait of the 'exul' with the heroes protagonists of those plots and, after that, analyzing the poetic tecniques that Ovid seems to draw from Latin and Greek tragedies. Is possible to read the Ovidian exilic elegies like a tragic tale, constructed in accordance with the Aristotle’s Poetica and its principles? Is his 'relegatio' a new poetic tragedy in an elegiac form? Is Ovid a new tragic hero? This PhD dissertation tries to answer to these questions.
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BRUSA, SOFIA ESTER. "Albertino Mussato, Tragedia Ecerinis." Doctoral thesis, 2022. http://hdl.handle.net/11570/3228822.

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La tesi presenta un profilo del poeta e storiografo padovano Albertino Mussato (1261-1329), relativo in particolare agli anni che lo portarono all'incoronazione poetica (1315), e ne inquadra la figura nel contesto storico-culturale del primo Trecento. È approfondito il tema della rinascita del genere tragico a opera dello stesso Mussato, cui diede impulso la lettura delle Tragedie di Seneca da poco tornate in circolazione. Mussato imitò i drammi senecani, sul piano formale e delle tematiche, nella sua Ecerinis, tragedia latina in trimetri giambici con cori in metri lirici; di quest'opera sono illustrati i principali motivi - tra cui spiccano la riflessione sulla tirannide e sulla storia - messi in relazione con la restante produzione in versi e in prosa di Mussato. È poi illustrata la tradizione manoscritta dell'Ecerinis (33 testimoni) e quella a stampa, nonché i commenti dedicati alla tragedia fin dalla sua prima diffusione. I rapporti tra i testimoni sono ricostruiti sulla base degli errori, delineando uno stemma che mostra la discendenza di tutta la tradizione da un unico archetipo, verosimilmente da identificare con l'esemplare approntato dall'autore in vista dell'incoronazione poetica. Si offre infine il testo critico dell'Ecerinis con traduzione italiana a fronte, seguito da un commento che illustra le peculiarità linguistico-metriche dell'opera e i rapporti con le fonti letterarie (dall'Antichità al tardo Medioevo) e con la produzione storiografica e cronachistica coeva.
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Vizzotti, Martín Miguel. "De la tragedia de Séneca a la épica de Lucano: estrategias de representación de los paradigmas filosóficos y literarios." Tesis, 2014. http://hdl.handle.net/10915/34410.

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Dada la disparidad de la crítica sobre la valoración de Séneca trágico y de Lucano épico, la tesis se inicia verificando el status quaestionis de ambos problemas. El caso de Séneca es complejo porque sus tragedias no siempre presentan la misma línea filosófica estoica de sus tratados morales, su correspondencia o el resto de su obra, iniciándose una polémica contemporánea al autor por parte de Pomponio y Quintiliano respecto de ciertas características de su teatro apartadas del canon clásico, pero de gran alcance posterior en el teatro renacentista e isabelino (ampulosidad retórica, violencia verbal, horror material, truculencia escénica, extremosidad de sus protagonistas, atmósferas opresivas y recargadas, falta de unidad estructural, etc.), e inclusive en oposición con la doctrina estoica no rigurosamente monolítica, en la que ambos autores se conformaron. Por otro lado, la Altertumwissenschaft de los siglos XVIII y XIX generó con su obsesiva erudición positivista una dicotomía en la apreciación de la Antigüedad clásica con una devaluación de todo lo que Roma representaba, lo cual oscureció prejuiciosamente no sólo sus logros sino que desfiguró con gran incomprensión el teatro senequiano y la épica lucaniana. Las líneas de investigación del s. XX, inclusive germanas, sin llegar a los parámetros del proyecto ‘Black Athena’ de Martin Bernal, con mayor objetividad han tratado de examinar la tragedia y la épica de la denominada ‘edad de plata’ y encontrar la razón de ser de sus diferencias y apartamientos deliberados. Con este instrumental crítico la tesis comienza su análisis de la tragedia en Roma desde sus inicios ya que, pese a la pobreza de testimonios documentales se pueden establecer ciertos rasgos válidos también para la épica. La superación de una simple imitatio o traductio por una ínsita aemulatio, no siempre epigonal, que lleva a altísimos diálogos, ej. Virgilio-Homero o Dante-Virgilio, en los que se verifica cómo el material ofrecido por la tradición es manejado con innovación y creatividad, ahondando temas como el del poder con perspectivas ausentes en la tragedia helena y sobre la base de la propia experiencia romana. Partiendo metodológicamente de El texto eminente de Gadamer se analizan los pasajes de ambos autores más densos y complejos con la finalidad de mostrar las estrategias de representación enmarcadas dentro de una cosmovisión estoica que exacerban los procedimientos y las operaciones de deconstrucción y subversión de los paradigmas trágicos y épicos, presentes por ambos autores, empleando las categorías del Barroco, Expresionismo y Grotesco, consideradas constantes culturales.
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Books on the topic "Latin tragedies"

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Humanist tragedies. Cambridge, Mass: Harvard University Press, 2011.

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Seneca, The tragedies. Baltimore: Johns Hopkins University Press, 1992.

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Cohen, Daniel. Growth and external debt: A new perspective on the African and Latin American tragedies. London: Centre for Economic Policy Research, 1997.

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The aesthetics of Senecan tragedy. Kraków: Księgarnia Akademicka, 2010.

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Elisabeth, Henry, ed. The mask of power: Seneca's tragedies and imperial Rome. Chicago, Il: Bolchazy-Carducci Publishers, 1985.

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Masiá, Andrés. Ennio, tragedias: Alcmeo, El ciclo troyano. Amsterdam: Hakkert, 2000.

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Fitch, John G. Seneca's anapaests: Metre, colometry, text, and artistry in the anapaests of Seneca's tragedies. Atlanta, Ga: Scholars Press, 1987.

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Giancarlo, Giardina, ed. Tragedie. Pisa: F. Serra, 2007.

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Annaeus, Seneca Lucius. Tragedie. Torino: Unione tipografico-editrice torinese, 1987.

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Lennartz, Klaus. Non verba sed vim: Kritisch-exegetische Untersuchungen zu den Fragmenten archaischer römischer Tragiker. Stuttgart: Teubner, 1994.

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Book chapters on the topic "Latin tragedies"

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Tulloch, Graham. "Chapter 9. Robert Garioch’s Translations of George Buchanan’s Latin Tragedies." In Frae Ither Tongues, edited by Bill Findlay, 171–87. Bristol, Blue Ridge Summit: Multilingual Matters, 2004. http://dx.doi.org/10.21832/9781853597015-010.

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Serra, G. "Da commedia e tragedia a punti e inchiostro. Ar., Gen. corr., 315b 14-15, tradotto dall’arabo in latino e in ebraico." In Textes et Etudes du Moyen Âge, 221–29. Turnhout: Brepols Publishers, 2001. http://dx.doi.org/10.1484/m.tema-eb.3.3018.

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"Latin Text." In Andreas Friz’s Letter on Tragedies (ca. 1741-1744), 196–281. BRILL, 2015. http://dx.doi.org/10.1163/9789004283749_005.

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"Latin Text and Translation." In Andreas Friz’s Letter on Tragedies (ca. 1741-1744), 74–171. BRILL, 2015. http://dx.doi.org/10.1163/9789004283749_003.

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Ferradou, Carine. "GEORGE BUCHANAN’S SACRED LATIN TRAGEDIES BAPTISTES AND IEPHTHES:." In The Early Modern Cultures of Neo-Latin Drama, 41–62. Leuven University Press, 2013. http://dx.doi.org/10.2307/j.ctt9qf0nj.5.

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Knight, Sarah. "‘Not with the Ancient, nor yet with the Modern’." In Fulke Greville and the Culture of the English Renaissance, 195–209. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823445.003.0011.

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Greville’s education at Shrewsbury School and Jesus College Cambridge exposed him to philosophical voices (e.g., the humanism of Cicero, Erasmus, and Vives) that would be influential throughout his writing life, and to a lively culture of Latin drama that would inform his own vernacular tragedies. This chapter explores how Greville’s plays intersect with other distinctive strains of sixteenth-century Senecanism, such as the Cambridge Latin tragedies Richardus Tertius (Thomas Legge, 1579) and Solymannidae (anonymous, 1581), and the French lawyer Gabriel Bounin’s La Soldane (1561). It sets Greville’s representation of education and drama in the Dedication against his accounts of pedagogical processes and adolescent intellectual formation in ‘A Treatie of Human Learning’ and in Alaham and Mustapha.
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"The Dating of Seneca’s Tragedies, with Special Reference to Thyestes." In Collected Papers on Latin Literature, edited by S. J. Harrison, 293–311. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198149484.003.0020.

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Abstract Seneca’S tragedies are notoriously difficult to date. They are sometimes included in special subjects on Neronian literature, but according to the preface of Tarrant’s 4famemnon (p. 7), they might equally well be regarded as Claudian, Gaian, or even Tiberian. I have not myself been able to attain a level of scepticism that Tarrant in his Thyestes has now abandoned (p. 10 ). but one must remain conscious at every tum that there are few certainties in this debate. In the first section of this paper much of the material is tralatician, but I have tried to identify the more important arguments and to put the emphasis my own way. In the later sections some of the observations on Thyestes may be less familiar.
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Cohen, Daniel. "Growth and External Debt: A New Perspective on the African and Latin American Tragedies." In Governance, Equity, and Global Markets, 309–55. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199241552.003.0025.

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Abstract This paper addresses two puzzles of the growth literature-namely. the failure of standard growth equation to account for Latin American and African slow growth; and the surprising failure of trade to explain growth whereas ‘trade liberalization’ appears to play a significant role. The paper shows (1) that African growth is readily explained by macroeconomic mismanagement and low investment; (2) that ‘trade liberalization’ should be taken as a proxy of such ‘macroeconomic’ good management: rather than a genuine measure of the effect of trade upon growth, and (3) that Latin American poor growth (which does not appear to be accounted by any of the preceding feature) is well explained by a variable (constructed in the text) that represents the likelihood of debt crisis.
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Sandis, Elizabeth. "From Bitesize Morsels to Thyestean Feasts." In Early Modern Drama at the Universities, 139–70. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192857132.003.0005.

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Every grammar-school boy learnt the building blocks of Seneca’s Latin, but the most ambitious of those who went on to university took their learning to the next level and composed whole tragedies in the neo-Senecan style. These works were designed to wow peers, impress tutors, and compete with the fashions on the London stage. The Latin-based tradition of revenge tragedy at Oxford and Cambridge is less familiar to us than the English-based tradition, but it is equally influential in the development of English drama, not least because the majority of the London-based playwrights were scholars who had trained at the universities. In this chapter I explain how Seneca’s plays, and his Thyestes in particular, came to be regarded as symbols of competitive spirit and ambition for English playwrights right across the board, from university colleges to the London playhouses.
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Smallwood, Philip. "Emotion." In The Oxford Handbook of Samuel Johnson, 599—C33.P114. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198794660.013.34.

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Abstract This chapter examines the province of emotion in Johnson’s life and writings and illustrates the significant place of feelings in one of the eighteenth century’s sanest of rational minds. Johnson’s personal emotion may sometimes be held at a bearable distance by his neo-Latin verses; but emotional energy figures centrally when Johnson is evaluating the tragedies of Shakespeare and is a test of sincerity in his Lives of the Poets. Poignant and powerful emotion energizes Johnson’s own creative work, as is apparent in the humanly sympathetic episodes of Rasselas and in the tensions generated by his most forceful couplet verse. Johnson’s private distress does not displace his criticism’s intellectual control, humour and expressive precision but his capacity for emotional life comprehensively informs the judgments he makes.
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Conference papers on the topic "Latin tragedies"

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Reports on the topic "Latin tragedies"

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Ramírez, Indhira, and Carlos Scartascini. Increasing Road Safety in Latin America and the Caribbean: Lessons from Behavioral Economics. Inter-American Development Bank, February 2024. http://dx.doi.org/10.18235/0005540.

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Road crashes are a significant public health issue in Latin America and the Caribbean, resulting in a staggering toll of approximately 110,000 fatalities and over 5 million injuries annually. These tragedies have far-reaching economic implications, costing Latin America and the Caribbean between 3 and 5 percent of its gross domestic product. A great many road crashes can be attributed to a variety of unsafe behaviors, such as distracted driving, speeding, and impairment from alcohol or drugs. Through an understanding of cognitive and social factors that influence such behaviors, behavioral sciences offer valuable insights for developing effective interventions and strategies to promote road safety. This report focuses on the behavioral and cognitive biases that make accidents so common in our region, on initiatives implemented around the world using behavioral insights that could be beneficial to the region, and on the behavioral interventions that have been implemented in Latin America and the Caribbean to increase road safety.
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