Relevant bibliographies by topics / Senecan literature

Academic literature on the topic 'Senecan literature'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Senecan literature"

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Mayne, Emily. "Presenting Seneca in Print: Elizabethan Translations and Thomas Newton’s Seneca His Tenne Tragedies." Review of English Studies 70, no. 297 (April 19, 2019): 823–46. http://dx.doi.org/10.1093/res/hgz022.

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Abstract Seneca His Tenne Tragedies (1581) was the first printed collection of Seneca’s tragedies in English. This article re-examines this publication in the context of early modern production of collected unannotated editions of Seneca’s tragedies on the European mainland, and of the editorial and intellectual interests of its compiler, Thomas Newton. It identifies Newton as something of an early modern ‘print professional’, who was involved in the production of a wide variety of texts, translations, and commendatory poetry, and who used a variety of sophisticated strategies in print to draw attention to and to promote his own capacities and achievements; and it shows how the Tenne Tragedies participates in these practices. Attending to Newton’s activities alongside Jasper Heywood’s translation of Hercules furens reveals significant discontinuities in approach between the Tenne Tragedies and one of its constituent texts. Heywood’s translation first appeared in 1561 in a parallel-text format that was not designed for inclusion in a single-language collection such as the Tenne Tragedies, as one early modern reader’s response to the translation in this later printed context may show. Newton’s presentation of the Tenne Tragedies volume, and his particular attitude towards ‘Seneca’, complicates current critical understanding of the reception and uses of Senecan tragedy in Elizabethan England, and of any ‘project’ of Senecan translation in the period, which may be more an effect of Newton’s editorial proclivities, combined with modern understanding of Seneca as a single author, than reflective of attitudes towards Senecan tragedy in early modern England more generally.
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Costa, C. D. N. "Senecan Studies." Classical Review 49, no. 1 (April 1999): 79–80. http://dx.doi.org/10.1093/cr/49.1.79.

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Boyle, A. J. "Senecan Tragedy: Twelve Propositions." Ramus 16, no. 1-2 (1987): 78–101. http://dx.doi.org/10.1017/s0048671x0000326x.

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I begin by stating what Senecan tragedy is not. Senecan tragedy is not a series of declamations cast into dramatic form, as Leo claimed. It is not purely verbal drama divorced from the inner psychological realities of character, as Eliot claimed. It is not character-static drama, incohesive, structureless, lifeless and monotonously versified, as Mackail and others have claimed. It is not Stoic propaganda, as Marti claimed. It is not recitation drama, if by recitation drama is meant drama to be recited by a single speaker and essentially unstageable, as Zwierlein claims. It is not a tissue of hackneyed commonplaces, as Ogilvie claimed, nor an artificial imitation of Greek tragedy, as Beare claimed; nor is it contemptible as literature, as Summers and most nineteenth and early twentieth century critics have claimed.What is Senecan tragedy? This essay presents twelve propositions, each of which isolates a characterising property of Senecan tragedy important for the understanding of it as literary and cultural artefact. These twelve propositions constitute neither an exhaustive list of such properties nor an analysis of genre. The latter question, however, I leave not to contemporary theory, but to the Codex Etruscus and the Elizabethans.
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Perry, Curtis. "Gregorio Correr, James Calfhill, and the Early Elizabethan Affordances of Senecan Tragedy." Translation and Literature 29, no. 1 (March 2020): 117–35. http://dx.doi.org/10.3366/tal.2020.0412.

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This essay re-examines the relationship between James Calfhill's lost play Progne, which was performed before Queen Elizabeth at Oxford University in 1566, and Gregorio Correr's (or Corraro's) fifteenth-century neo-Senecan tragedy Procne. It argues that Calfhill likely based his play closely upon Correr's, which had been printed by Paulo Manuzio for the Academia Venetiana in 1558. In addition to considering how and why a play based on Correr's Procne might have been chosen for performance before Elizabeth at Oxford, the essay argues that the possible existence of such a play should prompt reconsideration of the affordances of early Elizabethan Senecan tragedy more generally. Correr's play, it is proposed, is an exceptionally sophisticated study of Senecan characterization, and locating a play based closely upon it within the context of early Elizabethan Senecan imitation casts new light on the question of how Senecan tragedy was taken up in England.
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Braden, Gordon, and Thomas G. Rosenmeyer. "Senecan Drama and Stoic Cosmology." Comparative Literature 45, no. 1 (1993): 66. http://dx.doi.org/10.2307/1771308.

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Clay, Diskin. "Columbus' Senecan Prophecy." American Journal of Philology 113, no. 4 (1992): 617. http://dx.doi.org/10.2307/295543.

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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (December 2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.
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Cocozzella, Peter. "A STRAIN OF SENEQUISMO IN LATE-MEDIEVAL LITERATURE OF THE CATALAN DOMAIN: THE CASE OF FRA FRANCESC MONER (1463-1492)." Catalan Review 20, no. 1 (January 1, 2006): 229–61. http://dx.doi.org/10.3828/catr.20.13.

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This essay is an exploration of Seneca’s influence on the bilingual (Catalan and Castilian) production, including poems and prose works, of Fra Francesc Moner, an extraordinarily talented Catalan writer of the late Middle Ages. After sampling Moner’s pithy renditions of Seneca’s sententious rhetoric, this essay delves into Moner’s assimilation of the salient topics and motifs that distinguish the Stoic philosophical system of Senecan vintage. The essay takes into account, particularly, some points of coincidence between Moner’s senequismo and that of Ausiàs March, the incomparable Valencian poet of the first half of the fifteenth century. An analysis of these coincidences suggests that Moner inherits from March a keen sensitivity to the metaphysical bond between the literary text as an icon of subjectivity and the moment-to-moment unfolding of human existence.
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Davis, P. J. "The Chorus in Seneca'sThyestes." Classical Quarterly 39, no. 2 (December 1989): 421–35. http://dx.doi.org/10.1017/s0009838800037496.

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The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies (or indeed in the works of any ancient tragedian), but in his best works it is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses ofThyestes.
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Trinacty, Christopher V., and C. Michael Sampson. "VERBA ALITER INSTRVCTA: SENECAN POETICS." Ramus 46, no. 1-2 (December 2017): 1–15. http://dx.doi.org/10.1017/rmu.2017.1.

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Seneca recognizes the power of poetry. In his prose works, he discusses how poetry adds punch to moral sententiae, and he peppers his letters and dialogues with lines from Virgil, Ovid, and others. Seneca is there typically concerned with ethical matters and so seldom has much to say about poetics specifically. But, in a fragment preserved by Gellius (12.2.2-13), he faults Ennius as old-fashioned, and elsewhere writes that it is best to be alive and writing now (i.e. the first century CE) because of the many great works of literature one can draw upon: ‘one discovers words already prepared, which, when positioned differently, create a new form.’ The predilection for novelty is not blind to tradition, though poetry is a resource that requires careful handling: poets compose lines worthy of philosophers (Ep. 8.8, Nat. 4a.pr.19), but sometimes their words can be dangerous, arousing our passions (Ep. 115.12), our fears (Dial. 6.19.4), or even propagating misinformation (Dial. 7.26.6).
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Dissertations / Theses on the topic "Senecan literature"

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Payne, Matthew. "Aberration and criminality in Senecan tragedy." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16476.

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This thesis tackles the pervasiveness of aberration in Senecan tragedy. Aberration infects all aspects of the drama, and it is deeply entwined with Senecan criminality. In my introduction, I define my terminology of the aberrant, and I discuss a series of ongoing scholarly debates on the tragedies, showing how understanding the aberrant in Seneca's dramas can shed new light on these questions. In Chapter 1, I examine the relationship between the language of crime in the plays, tracing the Latin words for crime back to their instances in Republican Roman tragedy and other genres and seeing how Seneca uses and develops this language of crime, creating an unstable fuel for his dramas. In Chapter 2, I consider Seneca's paradoxes. I consider not only verbal manifestations but all the different paradoxes that appear in the dramas: visual paradoxes, paradoxes of infinity, thematic paradoxes, intertextual paradoxes and more. Paradox is not merely a formal feature of Seneca's writing but integral to the structure of each play. Paradox becomes Seneca's means of transforming linguistic aberration into thematic aberration. In Chapter 3, I argue that Senecan landscapes are not just verbal artefacts. Seneca describes his anomalous spaces in ways that connect with how space and place was experienced in Roman culture. Seneca's aberrant spaces give us buildings that are bigger on the inside than the outside and bodies that explode with the emotions within them. In Chapter 4, I probe aberrant behaviour, by considering the ambiguous characters of Hercules and Thyestes. I expand our focus to incorporate Roman notions of appropriate behaviour, reading the dramas and De Beneficiis as reflecting wider socio-cultural concerns, and I question common assumptions about the thematization of theatricality in Senecan tragedy. In both Hercules Furens and Thyestes, crime skews and twists the situation, rendering apparently ethical behaviour aberrant.
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Coral, Jordi. "The subjectivity of revenge : Senecan drama and the discovery of the tragic in Kyd and Shakespeare." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/13995/.

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This thesis re-examines the relationship between Senecan drama and the emergence of the public tragedy of the 1580s and '90s. In criticism, this relationship has been understood as a continuation of the 'influence' Seneca had been exerting on the Universities and the Inns-of Court since the 1560s. This thesis challenges this established view on the grounds that it fails to explain the innovativeness of the public tragedies: the formative impact of Seneca could not be the same on conventional academic authors as on creative public dramatists. Chapter I of this thesis explores and formulates this unresolved problem. Challenging the established view depends on the possibility of a Seneca who could offer a tragic vision alternative to academic moralism. Chapter II is concerned with showing that the plays ofthis Seneca dramatize not moral certitudes but tragic contradictions - the 'tragic' Seneca is made possible by an unstable conception of the individual - who is simultaneously individual and social, or individual because social. The privileged tragic expression of this ambiguous selfhood is revenge. Essentially, this thesis attempts to demonstrate that Senecan revenge so understood was fundamental to the earliest masterpieces of public revenge tragedy, The Spanish Tragedy and Titus Andronicus, and that Kyd's and Shakespeare's new treatment of revenge was facilitated by a rediscovery of Senecan tragedy as opposed to Senecan sensationalism. Chapters III and IV (on The Spanish Tragedy) and Chapter V and VI (on Titus Andronicus) attempt to show that this recognition has been impeded by the inadequate notion of revenge that has dominated modem criticism. Founded upon the orthodox pieties that Kyd and Shakespeare challenge, much of this criticism has obscured the distinctiveness of the Senecan avenger as against the Machiavel. This thesis conceives the would-be a-social Machiavel and the highly-socialized avenger in opposition to each other, but in order to reveal the inescapable social condition of the individual in both cases. At its moment of inception public revenge tragedy appears as a synthesis of tradition and modernity, social commitment and individual endeavour.
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Slaney, Helen. "Language and the body in the performance reception of Senecan tragedy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:72f9cf38-6e9c-40a1-b387-12a754e4d0ea.

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Seneca’s contribution to the development of Western European theatre and conceptions of theatricality has been underestimated in comparison to that of Greek tragedy. This thesis argues for the continuous importance of Senecan drama in theatrical theory and practice from the sixteenth century until the present day. It examines significant instances of Seneca in performance, and shows how these draw on particular aspects of Seneca’s style and dramaturgical technique to coalesce into a sub-genre of tragedy termed here ‘hypertragedy’ or the ‘senecan aesthetic’. The underlying premise of this representational mode is that verbal (vocal) performance is a physical act and induces physical responses. This entails the consequential inference that Senecan theatre is not mimetic – that is, based on an isomorphic identification of character with performer – but rather affective; like oratory, it functions through direct, quasi-musical manipulation of the auditor’s senses. The goal of this theatrical form is to articulate extreme states of mind or experiences which cannot be conveyed via conventional mimetic means: pain, frenzy, dissolution of the self. In tracing the theories of tragedy which comprise a narrative contrapuntal to the reception of Seneca onstage, it is possible to identify the factors which have successively constructed, promoted, suppressed, reviled and finally reinstated the senecan aesthetic as philhellenism’s other.
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Klein, Giovani Roberto. "O Edipo de Seneca : tradução e estudo critico." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270374.

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Orientador: Paulo Sergio de Vasconcellos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-04T03:26:24Z (GMT). No. of bitstreams: 1 Klein_GiovaniRoberto_M.pdf: 648589 bytes, checksum: 991c810a5e01dd879d84e6760e82712d (MD5) Previous issue date: 2005
Resumo: Este trabalho apresenta uma tradução anotada da tragédia Édipo do autor latino Sêneca, acompanhada de uma introdução e de três estudos ensaísticos: o primeiro contrastando o papel do destino no Édipo rei de Sófocles e no Édipo de Sêneca, mostrando as influências da filosofia estóica neste último; o segundo sobre as imagens da peça, discutindo a propriedade de seu uso por parte de um filósofo estóico; o terceiro sobre o uso de descrições na peça, como isso subverte as leis aristotélicas da tragédia e qual o papel que elas podem desempenhar
Abstract: This work presents an annotaded translation of the tragedy Oedipus of the latin author Seneca, followed by an introduction and three essayistic studies: the first one contrasting the role of the fate in Sophocles¿ Oedipus king and in Seneca¿s Oedipus, showing the influences of stoic philosophy in the latter; the second focuses on the images of the play, discussing the property of its use by a stoic philosopher; the third one deals with the use of descriptions in the latin play, how this subverts the aristotelian laws of the tragedy and which is their function in the play
Mestrado
Letras Classicas
Mestre em Linguística
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Freitas, Renata Cazarini de. "CVNCTA QVATIAM - Medeia abala estruturas. O teatro de Sêneca e sua permanência na cena contemporânea: tradução e estudo da recepção." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-09102015-135558/.

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Tomando como base teórica os Estudos da Recepção de Clássicos, esta pesquisa de mestrado centrou-se durante três anos na tragédia latina Medeia, de Sêneca, incluindo sua tradução em português e uma análise abrangente de aspectos retóricos, para identificar elementos que se tenham provado elos permanentes na cadeia de recepção de peças de teatro da Antiguidade clássica. Esta investigação assumiu como textos mediadores nesse intervalo de vinte séculos tanto o repertório shakespeariano como o Teatro da Crueldade de Antonin Artaud, sendo que ambos foram em alguma medida apropriados por dramaturgos do século XX como Heine Müller, Sarah Kane e Ted Hughes. Todos os três se voltaram para Sêneca antes de escrever suas respectivas peças Medeamaterial, Phaedras Love e Senecas Oedipus, que também foram objeto deste estudo.
Taking into account the concepts of the Reception Studies of Classics, this three-year long Masters Degree investigation centered on Seneca\'s Medea Latin tragedy, including its translation into Portuguese and a thoroughly analysis of rhetorical aspects, in order to identify elements which have proven themselves as permanent links into the Reception chain of Ancient theatre plays. This research took as mediating texts in this 20th century span transmission net William Shakespeare\'s repertory and Antonin Artaud\'s Cruelty Theatre, both of which have in some extent been appropriated by 20th century playwrights such as Heiner Müller, Sarah Kane and Ted Hughes, the three of them having gone back to Seneca before setting up their Medeamaterial, Phaedra\'s Love and Seneca\'s Oedipus plays, respectively, which also make up the corpora of this study.
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Mocanu, Alin. "Ovidian influences in Seneca's Phaedra." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121474.

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The following thesis is an examination of the way Seneca constructs Phaedra, the main character of an eponymous tragedy. It aims to prove that the tragedian uses a mixing of mainly two literary genres, tragedy and elegy, and it analyzes the way the elegiac genre is transformed so it can fit this new generic hybrid. Seneca finds inspiration for the elegiac topoi in Ovid's love poems. The author uses the recurrent elegiac convention involving a soft man, the lover, and a dominant woman, the beloved, but he reverses this literary tradition: Phaedra becomes the lover while Hippolytus becomes the beloved. Besides a series of elegiac topoi such as fiery love metaphors, servitium amoris or symptoms of love, Seneca also deals with the erotic hunting. Roman love elegy often associates the lover, the feeble man, with a hunter, while it represents the beloved, the dominant woman, as his prey. In Phaedra, Hippolytus, a true hunter, becomes an erotic prey, while the female character takes on the role of the erotic predator, which causes the young man's tragic death.
Dans ce mémoire de maîtrise on examine la manière dont Sénèque construit Phèdre dans la tragédie portant le même nom. On prouve que pour créer son personnage, le tragédien romain mélange deux genres littéraires : la tragédie et l'élégie. On analyse aussi la façon dont Sénèque altère le genre élégiaque afin qu'il puisse créer un nouveau genre littéraire hybride. L'auteur trouve son inspiration pour les topoi élégiaques dans les poèmes érotiques ovidiens. En dépit de l'utilisation d'une convention élégiaque par excellence qui concerne la relation entre un amoureux, un homme faible, et une bien-aimée, une femme forte et dominante, Sénèque inverse ces éléments et Phèdre devient l'amoureux, tandis qu'Hyppolite se voit attribué le rôle du bien-aimé. À part une série de topoi élégiaques comme les métaphores érotiques du feu, le servitium amoris ou les symptômes de l'amour, le tragédien emploie aussi le lieu commun de la chasse érotique. L'élégie romaine associait très souvent l'homme faible à un chasseur et la femme forte à sa proie. Dans Phèdre, Hippolyte, un vrai chasseur, devient une proie érotique, tandis que le personnage féminin prend le rôle du prédateur, ce qui mène le jeune homme à une fin tragique.
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Allendorf, Tobias Simon. "Echoes of the Republican past : Seneca's tragic chorus and earlier Latin literature." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:e046150b-4bac-4a20-99fd-23576f31c617.

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Littlewood, C. A. J. "Dramatic role and moral voice in Seneca's tragedies." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260713.

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Safferling, Cordula [Verfasser], and Severin [Akademischer Betreuer] Koster. "Untersuchungen zu den Praefationes von Seneca pater / Cordula Safferling. Betreuer: Severin Koster." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2013. http://d-nb.info/1054164150/34.

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Clay, Jason. "Seneca's Agamemnon: A Literary Translation with Annotations." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491308000521512.

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Books on the topic "Senecan literature"

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1930-, Clark John R., ed. Senecan tragedy. Amsterdam: A.M. Hakkert, 1988.

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Heinonen, Sirkka. Aika ja tulevaisuus Senecan tuotannossa. Helsinki: Tulevaisuuden tutkimuksen seura, 1990.

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Senecan drama and stoic cosmology. Berkeley: University of California Press, 1989.

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Self-representation and illusion in Senecan tragedy. Oxford: Oxford University Press, 2004.

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The role of description in Senecan tragedy. Frankfurt am Main: P. Lang, 1994.

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The passions in play: Thyestes and the dynamics of Senecan drama. Cambridge, U.K: Cambridge University Press, 2003.

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J, Davis Peter. Seneca: Thyestes. London: Duckworth, 2003.

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The Seneca. Chicago: Childrens Press, 1991.

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Berg, Elizabeth. Senegal. 2nd ed. New York: Marshall Cavendish Benchmark, 2010.

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Mulroy, Tanya. Senegal. Philadelphia: Mason Crest Publishers, 2012.

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Book chapters on the topic "Senecan literature"

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Kuhlmann, Peter Alois. "Seneca." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22164-1.

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Mellein, Richard. "Seneca." In Kindler Kompakt: Literatur der Antike, 168–69. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04363-4_29.

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Jahn, Stefanie. "Seneca: Dialoge." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22165-1.

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Rühl, Meike. "Seneca: Tragoediae." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22166-1.

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Schmidt, Hans W. "Seneca: Apocolocyntosis." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22167-1.

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Mellein, Richard. "Seneca: Quaestiones naturales." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22169-1.

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Mellein, Richard. "Seneca: Epistulae morales ad Lucilium." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22168-1.

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Neblung, Dagmar. "Die Gestalt der Kassandra Bei Seneca." In Die Gestalt der Kassandra in der antiken Literatur, 154–80. Wiesbaden: Vieweg+Teubner Verlag, 1997. http://dx.doi.org/10.1007/978-3-663-12039-1_7.

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Birkle, Carmen. "Mott, Lucretia Coffin / Stanton, Elizabeth Cady: Seneca Falls Declaration of Sentiments and Resolutions." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22932-1.

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Lenz, Achim Wolfgang. "Die Inszenierung einer antiken Tragödie — Medea von L. Annaeus Seneca." In Rezeption des antiken Dramas auf der Bühne und in der Literatur, 1–119. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02840-2_1.

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Conference papers on the topic "Senecan literature"

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"PSICOSIS, CONSUMO Y PERSONAS MIGRANTES. A PROPÓSITO DE UN CASO." In 23° Congreso de la Sociedad Española de Patología Dual (SEPD) 2021. SEPD, 2021. http://dx.doi.org/10.17579/sepd2021p139v.

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Abstract:
•Objetivos: Estudiar la predisposición que produce el uso de cannabis a padecer un trastorno psicótico. •Material y métodos: Descripción de un caso clínico de trastorno esquizofreniforme comórbido con trastorno por uso de cannabis y revisión bibliográfica de la relación entre ambos. •Resultados: Varón de 20 años, procedente de Senegal, en situación administrativa irregular, que reside en un piso de acogida. Consumidor habitual de cannabis y alcohol esporádico. Acude al servicio de urgencias acompañado por la Trabajadora Social de su centro, que refiere cambios de conducta en los últimos días. La entrevista se realiza mediante un traductor, por importante barrera idiomática, que refiere insomnio de días de evolución, alucinaciones auditivas de contenido místico y autorreferencial, Alá, el profeta, le ordena llevar a cabo distintas acciones para evitar el mal. Presenta una conducta muy desorganizada, como escribir en un papel una secuencia numérica y recoger fibras de tejidos y anudarlas. También comenta que en casa venía realizando limpieza de forma compulsiva. Reconoce haber llegado a autoinfligirse lesiones en los muslos para evitar hacer “lo malo”. Ingresa en nuestra unidad para estabilización clínica e inicio de tratamiento antipsicótico, presentando mejoría tras dos semanas del mismo y el cese de consumo de tóxicos. Se decide alta con diagnóstico de Trastorno Esquizofreniforme. •Conclusiones: Según la literatura científica revisada, existe una clara relación entre el consumo de cannabis y la aparición de clínica psicótica en sujetos con vulnerabilidad previa, que en algunos casos deriva en trastornos crónicos como la esquizofrenia. Aunque solo una minoría de consumidores presenten alteraciones psicóticas, se debe incidir en medidas preventivas sobre su consumo, especialmente en población vulnerable, como adolescentes o consumidores de altas dosis.
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