Dissertations / Theses on the topic 'Senecan stoicism'

This study will focus upon the dramas of Mary Sidney, Samuel Daniel, Samuel Brandon, William Alexander, and Elizabeth Cary, as well as the Roman tragedies of Thomas Kyd and Ben Jonson, which are characterised, to varying degrees, by their appropriation of continental models of neo-classical tragedy practised by the French tragedian Robert Gamier. The idea, promulgated by several early twentieth century critics, that many of these plays are linked by a common anti-theatrical agenda has been roundly rejected by more recent critics. This thesis will offer a new perspective on these plays by arguing that the recent criticism which distances them from the anti-theatrical agenda has served to repress the intertextual affinities that exist between them. These are characterised by their common interests in such humanist outlooks as republicanism and stoicism. Classical authorities, including Seneca and Tacitus, as well as contemporary theorists, such as Niccolo Machiavelli and Justus Lipsius inform these discourses. This form of drama also offered the authors a space to interrogate the practical utility of a number of theories from a variety of perspectives, indicating that the plays are in dialogue with one another rather than offering a single uniform outlook. As a related issue, the study will consider the various ways that the engagement with these theories affects the representation of a number of features in these plays, such as the dramatisation of key historical events, the representation of exemplary figures like Alexander the Great and Julius Caesar, and the plight of the individual in a tyrannical society, as well as their response to topical events such as the accession of James I. Such features, this study will argue, provide evidence of how this form of drama was appropriated to address the concerns of a politically disenfranchised group of writers during the late Elizabethan and early Jacobean eras, as well as revealing the commitment of the writers to a form of humanist dramatic authorship.

This thesis attempts to identify and analyse the influence of the tradition of declamation on characterisation in the dramatic compositions of the Stoic philosopher Seneca. Two argumentative lines structure this thesis: the first relates to a concept of ludism, which is argued to help re-visit declamatory rhetoric, and re-appreciate its functions in Roman society. The second one is twofold: first, that the concept of ludism - in the ways in which it is argued to be applicable to declamatory rhetoric - can describe effectively the influence of declamation on Senecan characterisation; and second, that it may allow us to re-visit the issue of the place of Senecan characterisation within the whole of Seneca’s philosophical writings, by putting into relief an educative function of Senecan characterisation.

This thesis offers new philosophical and literary interpretations of Seneca's 'De ira'. It takes as its starting-point the observation that both the philosophical position on which the text relies and the way in which it is organised appear to be chaotic, and it investigates how far and why this is the case. It shows that a coherent philosophical position underlies the text but that the text presents it as incoherent, and that it does this for therapeutic purposes. Similarly, it shows that the text is organised in a far more orderly way than has been previously appreciated, and it explains how the (apparent) disruption of that organisational system serves the text's therapeutic function. In making these arguments, it presents new readings of the De ira that reveal the text's philosophical and literary qualities, arguing that it constitutes a more sophisticated response to Seneca's philosophical predecessors than previous accounts have claimed, and that the text, as it progresses, introduces new therapeutic strategies that provide 'safety nets' should its earlier principal strategies have failed. The thesis aims to be methodologically innovative in using Seneca's descriptions of emotional responses as well as more explicit theorising to reconstruct his philosophical position and in suggesting a new approach to interpreting the role of interlocutors and addressees in didactic and dialogic texts.

This thesis looks at how the Roman poet Lucan uses the character of Cato to elucidate his beliefs about Fortune and Stoicism. The traditional Stoic view of Fortune views it as a force for good that allows people to improve through hardship. Lucan portrays Fortune as a purely antagonistic force that actively seeks to harm the Roman people and corrupt even good individuals like Cato. Lucan's Fortune arranges events to place Cato in a situation where it is impossible to maintain his virtue. Rather than providing him an opportunity to improve in the civil war, Fortune makes it so that whatever choice Cato makes, he becomes guilty. Brutus' dialogue with Cato in Book 2 of Pharsalia illuminates the position that Cato is in. Brutus looks to Cato as the traditional Stoic exemplar that can forge a path for virtue in civil war. However, Cato admits that joining any side in the civil war would cause him to become guilty. Fortune's support of Caesar and its dominance over contemporary events has forced Cato into this situation. Cato's desert march in Book 9 continues to show Fortune's dominance over Cato by continually denying him opportunities to gain virtue for himself. Lucan's portrayal of Fortune shows his rejection of Stoic teaching about Fortune and the ultimate futility of trying to remain virtuous in a time of civil war.

Orientador: Isabella Tardin Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Ao percorrer as Epistulae morales de Sêneca (4 a.C.- 65 d.C), notamos que uma parte considerável de seus ensinamentos se fundamenta em um conceito pouco trabalhado academicamente: a ¿harmonia¿. O filósofo, ao exortar Lucílio à busca da sabedoria, utiliza diversas imagens e exemplos, e neles observamos a presença, ora de modo evidente, ora sutil, de referências à harmonia entre o discurso e as ações, entre a vida e o discurso, entre o estilo e o caráter, entre as ações e a natureza, entre a vontade e o destino, entre a corpo e a alma, entre as ações e elas mesmas, e assim por diante. Em estudo anterior, verificamos que tal harmonia não costuma ser expressa por um único termo, mas é designada por vocábulos com sentidos semelhantes: partindo do estudo do conceito de conuenientia, que é a tradução direta do termo técnico homología (o qual, no estoicismo de Zenão designava a harmonia enquanto objetivo da prática filosófica), constatamos que Sêneca também emprega outros vocábulos mais comuns na língua latina, em especial: concordia, consonans, consentire, constare e congruere. Como objetivo central da nossa pesquisa, foram traduzidos para o português e comentados trechos das cartas em que tais vocabulos se mostram relevantes ao estudo da ¿harmonia¿ nas cartas filosóficas de Sêneca. O estudo introdutório discorre acerca do modo específico com que o filósofo, no corpus por nós selecionado, concebe e apresenta conceito tão importante ao estoicismo em geral. A consideração da polissemia e das imagens no texto senequeano se mostra fundamental para a compreensão da noção filosófica investigada
Abstract: By reading through Seneca¿s Epistulae morales one notes that a considerable part of his doctrine is based on harmony, a concept that has not received the deserved attention in Senecan researches. While urging Lucilius in the search for wisdom, Seneca uses a great variety of images and examples that refers explicitly or implicitly to many kinds of harmony, e.g.: harmony between speech and deeds, life and speech, style and character, actions and nature, will and fate, body and soul, between actions among themselves. It was verified that such a ¿harmony¿ usually is not named by a single term or expression, but is indicated by words with similar acceptances. The study of the idea of conuenientia ¿ the straight Latin translation of the technical term homología (¿harmony¿ in Zeno¿s Stoicism) ¿ confirmed that Seneca also makes use of other words, that are more familiar to the current Latin language, among which there are concordia, consonans, consentire, constare and congruere. Excerpts of Seneca's philosophical letters that have been proved to hold valuable arguments to the study of the ¿harmony¿ were translated into Portuguese and annotated. The introductory study concerns about the particular way by which Seneca presents such an important Stoic concept in the selected corpus. The polissemy and images in the investigated texts play a central role in the understanding of the philosophical notion here considered.
Mestrado
Mestre em Linguística

L’objectif du présent travail est de faire la lumière sur la conception de l’âme présente à l’intérieur de la pensée philosophique de Sénèque, en faisant émerger, d’un côté, son orthodoxie fondamentale à l’égard du stoïcisme, de l’autre, sa contribution originale. Dans ce but, notre thèse est divisée en trois parties. La première s’occupe de reconnaître les caractéristiques de l’âme humaine dans ses traits essentiels (nature, structure, fonction) en faisant émerger un premier “modèle” psychologique : l’âme stable et harmonieuse qui a rejoint la vertu. La seconde partie approfondit un second “modèle” psychologique : celui d’une âme instable, dysharmonique et passionnelle. Enfin, la troisième partie analyse la question de l’âme dans les œuvres qui ne sont pas stricto sensu philosophiques (les tragédies et les Naturales Quaestiones) dans la mesure où elles se révèlent avoir des affinités significatives avec le discours développé dans les deux premières parties, nous permettant ainsi de spécifier encore mieux notre thèse
The aim of this work is to unveil the conception of the soul within Seneca's philosophical thought by bringing out, on the one hand, his underlying orthodoxy towards Stoicism and, on the other, his original contribution. In this regard, the dissertation is divided into three parts. The first one reconstructs the characteristics of the human soul in its essential traits (nature, structure, functions) and develops a first psychological “model”: the stable and harmonious soul that has achieved virtue. The second part deepens a second psychological “model”: that of an unstable, disharmonious and passionate soul. Finally, the third part analyses the works not stricto sensu philosophical (tragedies and Natural Questions), as they reveal significant affinities with the discourse on the soul conducted in the first two parts, allowing us to specify our thesis even better

Orientador: Paulo Sergio de Vasconcellos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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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

O nosso trabalho consiste na tradução e no estudo do De Ira do filósofo estoico e político romano Lucio Anêu Sêneca. A obra é endereçada ao seu irmão Novato que, supostamente, o indaga como conter essa paixão. Assim, nos 3 livros, o filósofo apresenta a gênese dessa paixão e os males causados por ela para, por fim, apresentar meios para extirpa-la da alma. A defesa dos ensinamentos do Estoicismo ecoa explicitamente nos diversos exemplos dados pelo filósofo quando contraposta com as demais escolas filosóficas da época. Assim, a ira é tratada como a paixão mais danosa dentre todas as paixões do homem.
Our dissertation consists in the translation and study of De Ira from the Stoic philosopher and Roman politician Lucious Annaeus Seneca. The book is addressed to his brother Novato who supposedly inquires him how to restrain this passion. Thus, in three books, the philosopher presents the genesis of that passion and the evils caused by it to finally introduce ways to extirpate it from the soul. The defense of the Stoicism\'s teachings explicitly echoes in several examples given by the philosopher when contrasted with other philosophical schools of the time. So wrath is treated as the most damaging passion among all human passions.

Orientador: Paulo Sergio de Vasconcellos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Os conceitos de sapientia e uirtus em Sêneca (4 a.C. ¿ 65 d.C.) permeiam grande parte de sua obra, sendo que, por vezes, encontram-se fortemente ligados: pode-nos parecer difícil pensar em uma pretensa relação de subordinação entre os conceitos de sabedoria e virtude em si mesmos; no entanto, o modo como ambos se conjugam na obra desse autor incita-nos a questionar se a meta final do homem é a virtude através da sabedoria, ou a sabedoria através da virtude. A filosofia estóica é bastante conhecida pelo fato de subjugar a lógica, e mesmo a física, à moral: como o próprio Sêneca apregoa, nada teria valor se não pudesse ser utilizado na vida prática. E, justamente no âmbito dessa, tais categorias são desenvolvidas nos escritos do estóico. Dessa forma, à primeira vista, tende-se a considerar que, para o filósofo, a sabedoria estaria subordinada à virtude. A pesquisa que realizamos dividiu-se em três etapas: a seleção e tradução de epístolas senequianas que expusessem sua concepção daqueles dois conceitos; a elaboração de notas explicativas; um estudo introdutório acerca da relação entre o ser sábio e a virtude, no contexto em que o filósofo se insere
Abstract: The concepts of sapientia and uirtus in Seneca (4 b.C. ¿ 65 a. C.) permeates a great part of his works, seeing that, sometimes, they are strongly linked: it seems to be difficult to think about an assumed relation of subordination between the subjects of wisdom and virtue in themselves; nevertheless, the form both get conjugated in this author¿s works incites us to question if the man¿s final goal is virtue through wisdom or wisdom through virtue. The stoic philosophy is well known by the fact of subjudging the logic and even physics to ethics: as Seneca himself proclaims, it would be useless if it could not be used in daily life. And, precisely on its ambit, these categories are developed on the author¿s writings. Therefore, at first sight, it tends to consider that, for the philosopher, wisdom would be subordinated to virtue. Our research was divided into three steps: selection and translation of Seneca¿s epistles that expose his conceivings about the two concepts; elaboration of explicative notes and an introductory study about the relation between being a wise man and the virtue, in a context where the philosopher inserts himself
Mestrado
Mestre em Linguística

In this thesis, Seneca&rsquo
s notion of self as self-love and the problem of self-deception are analyzed. In examining three types of self-love, &ndash
ignorant, progressing selves,&ndash
three models of self-deception are discussed. Self-deception is related to the problem of self-knowledge. I discuss the nature of self-love as self-esteem and self-preservation and self-shaping all of which are innate qualities and develop into more complex forms of knowing. Passions are concrete examples of the representations of deceived self
central to the overestimation of indifferents, the deceived self displays a pattern of reasoning that creates a paradox between what the self intends to do and what it actually appears or what the self wants to see himself as and what it actually is. In discussing various types of self-deception, it is argued that problem of deception can hardly be overcome practically even by education, although it is naturally possible. While the ignorant deceive themselves beyond their recognition, in the case of the educated selves, the tension between the knowledge of ignorance and the desire to be the person play an important role in self-deception. No one except the sage is free from self-deception. The thesis deals with the issue of self-knowing as a scarce possibility.

Ce travail de recherche reconstruit la valeur de la notion de securitas d'un point de vue conceptuel et du point de vue de l'histoire de la philosophie dans le but de montrer la centralité du concept et la cohérence de son développement dans la réflexion philosophique de Sénèque. À cette fin les dimensions intérieure et extérieure sont examinées dans leur relation d'implication mutuelle : premièrement la securitas est étudiée par rapport à la dimension psychologique du sujet dans le contexte du progrès moral, deuxièmement, elle est étudiée par rapport à la relation à autrui dans le contexte sociale de l'Empire. La securitas est également analysée en référence au statut épistémologique des Naturales Quaestiones pour étudier la relation que l'homme entretient avec le monde des phénomènes naturels grâce à la science. En outre le concept a été examiné à l’intérieur de la relation entre oeuvre philosophique et oeuvre tragique (Oedipus). Le postulat éthique de la securitas trouve une résonance et un sens complémentaires dans la poétique de l’oeuvre tragique, ce qui détermine donc une poétique de l'incertain. La recherche montre que la présence du focus sur la dimension intérieure vise des objectifs éthiques concernant la sphère extérieure. Ce qui ressort en outre de l’étude de la notion de securitas est une relation tendue avec le monde. Ce caractère tendu de la relation au monde nous a conduit à clarifier la position de Sénèque vis-à-vis de la tradition stoïcienne à laquelle il appartient, ainsi que son attitude par rapport aux autres influences philosophiques (Lucrèce, Cicéron, Celse) et idéologiques (Velleius Paterculus) auxquelles il est perméable
This research reconstructs the value of the concept of securitas in Seneca's thought with the aim to show its centrality and the organic nature of its development both from a conceptual point of view and from the point of view of the history of ideas. Therefore the interior and the exterior dimensions of the notion and their mutual implications are analyzed: securitas is examined in its interior psychological dimension in the context of moral progress, subsequently the importance of the concept is taken into account in connection with social relations in the imperial context. The epistemological questions of the notion in Naturales Quaestiones are also studied in order to investigate the relationship that man entertains with the world of natural phenomena through science. Securitas was also examined within the relationship between philosophical and dramatic works (Oedipus), suggesting the presence of ethical assumptions of securitas in their inverted sense on a poetic level and allowing us to describe Seneca's poetic as a poetic of uncertainty. The research shows that the ethical aspects which focus on the interior dimension become part of relating to the outside world as well. The tense relationship with the world, which emerges from the study of the concept of securitas, can also be linked to the way Seneca deals with previous philosophical tradition and have contributed to clarify his position with respect to the Stoic tradition to which he belongs, as well as with respect to other philosophical (Lucretius, Cicero, Celsus) and ideological (Velleius Paterculus) influences which are present in his works

Thesis (MA)--Stellenbosch University, 2011.
ENGLISH ABSTRACT: Stoic philosophy taught along with the other prominent philosophical schools of the Hellenistic Era (i.e. the Academics, the Peripatetics and the Epicureans) that the goal or final end (telos) of human existence is our well-being or happiness (eudaimonia). The Stoics provided various definitions of this telos, the most famous being “living in agreement with nature” (ηὸ ὁκνινγνπκέλσο ηῇ θύζεη δῆλ) or “living according to nature” (secundum naturam vivere) and this goal essentially comes down to living according to perfect reason and virtue. The purpose of this study is to investigate how Seneca presents the Stoic doctrines regarding this topic in his Epistulae Morales (“Letters on Morality”) and to determine whether he managed to make the theoretical framework, proposed by the Stoics for the attainment of a happy life, more easily applicable in practice without compromising orthodox Stoic teachings. The orthodoxy of Seneca‟s philosophy may be judged by comparison with the doctrines of the early Stoic teachers, which is why this study will first look at the traditional Stoic teachings concerning the definition of the telos as well as the theory behind the attainment thereof. Thereafter it will be investigated how true Seneca stayed to these traditional teachings and whether he managed to make the Stoic telos more realistically attainable by the practical advice he offers in his letters.
AFRIKAANSE OPSOMMING: Stoïsynse filosofie voer aan soos die ander prominente filosofiese skole van die Hellenistiese era (d.w.s. die Akademie, die Peripatetiese skool, en die Epikureërs) dat die einddoel (telos) van die mensdom welsyn of geluk (eudaimonia) is. Die Stoïsyne het verskillende definisies van die telos verskaf; die mees bekende is “om in ooreenkoms met die natuur te leef” (ηὸ ὁκνινγνπκέλσο ηῇ θύζεη δῆλ) of “om volgens die natuur te leef” (secundum naturam vivere) en hierdie einddoel kom in wese daarop neer om volgens volmaakte rede of deug te leef. Die doel van hierdie studie is om te ondersoek hoe Seneca die Stoïsynse leerstellings oor hierdie onderwerp in sy Epistulae Morales (“Briewe oor Moraliteit”) behandel en om te bepaal of hy dit makliker gemaak het om die teoretiese raamwerk, wat deur die Stoïsyne vir die bereiking van 'n gelukkige lewe voorgestel is, in die praktyk toe te pas sonder om die ortodokse Stoïsynse leerstellings te kompromitteer. Die ortodoksie van Seneca se filosofie kan beoordeel word deur dit met die leerstellings van die vroeë Stoïsyne te vergelyk. Hierdie studie begin dus met „n ondersoek na die tradisionele Stoïsynse leerstellings aangaande die definisie van die telos, sowel as die teorie oor die bereiking daarvan. Daarna word ondersoek hoe getrou Seneca was aan die tradisionele leerstellings en of hy deur die praktiese raad in sy briewe dit makliker gemaak het om die Stoïsynse telos te bereik.

Cette étude des différents aspects de la théologie et de la religion de Sénèque, basée sur l'ensemble du corpus sénéquien, offre une perspective sur l'évolution et l'adaptation de la doctrine stoïcienne en contexte romain. Elle considère le phénomène religieux à la fois du point de vue de la religion civile du citoyen et de la piété intérieure de la personne. La diversité d'une œuvre mi-philosophique mi-poétique impose un point de vue plus synchronique que diachronique (même si l'évolution de la pensée de l'auteur est prise en compte), qui privilégie l'exégèse en fonction des genres littéraires et de leurs codes. La 1ère partie analyse les dominantes de la conscience religieuse romaine (l'opposition religio/superstitio), éclairées par l'héritage critique. La 2ème partie démontre que Sénèque cherche toujours à trouver une valeur aux discours de la religion traditionnelle et des poètes sur le dieu. Sa situation de philosophe homme d'état le contraint à faire des concessions, notamment au sujet du culte impérial. La 3ème partie fait un bilan doctrinal sur le monisme stoïcien et sur son appropriation par Sénèque, qui laisse la place à une vraie émotion religieuse à l'égard du deus rationnel. La hiérophanie progressive de la divinité par le progressant en sagesse implique un glissement de la physique vers l'éthique. La 4ème partie s'attache à la question de la recherche d'un langage adéquat pour définir la divinité. La 5ème partie traite du rapport de l'individu à la divinité. L'homme, héroïque dans son dépassement de la contingence, se hisse par un exercice de la pensée au rang du deus, jusqu'à leur communion dans la sagesse pure, notamment grâce à la prière philosophique.

Este trabalho tem como objeto o pensamento político de Sêneca em sua relação com a filosofia moral estoica. Nossa hipótese é a de que a construção da noção de poder político em Sêneca se dá por meio da vinculação entre duas figuras chave de seu pensamento, a do sábio (sapiens) e a do príncipe (princeps). Isto é, pretende-se mostra, precisamente na leitura do Tratado sobre a clemência (De Clementia), que existe uma íntima relação entre, de um lado, a formação moral do governante e, de outro, as formulações teóricas da doutrina estoica acerca do homem virtuoso, do sapiens. A arte política por excelência, por não se desvincular da Ética (para o estoicismo), é materializada na interrelação existente entre a figura do princeps e a figura do sapiens, implicando, portanto, a formação moral do governante como elemento imprescindível ao bom exercício do poder político.
This paper has as its object the political thought of Seneca in his relation with stoic moral philosophy. The hypothesis is that the construction of the notion of political power in Seneca occurs through the linking between two key figures of his thought, the wise (sapiens) and the prince (princeps). This is intended to show precisely the reading of the Treaty on clemency (De Clementia), that there is a close relationship between, on the one hand, the moral education of the ruler and on the other, the theoretical formulations of the Stoic doctrine of virtuous man sapiens. The political art par excellence, not to avoid its Ethics (for Stoicism), is based upon the interrelationship between the figure of the princeps and the figure of sapiens, implying therefore the moral education of the ruler as an essential element for the proper exercise of the political power.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The dissertation undertakes an analysis of the philosophical aspects of the Letters to Lucilius by Lucio Aneu Seneca, Stoic philosopher and Roman politician born in 4 BC. It seeks to investigate, from his work, his understanding regarding life and its finiteness in death. Although his work is extensive, this work will be limited to the Letters wherein the concept of death is more widely dealt with and didactically explained. In the first chapter, the foundations fundamentals of stoic philosophy are explained, which begins in ancient Stoicism through middle stoicism until Roman stoicism, period in which our philosopher is inserted. Thenceforth it deals with the understanding of his life and work in order to comprehend what it means, for Seneca, a good death and how meditating about death assists on the effort to understand it. Throughout this work it is discussed with some interpreters of Seneca's stoicism, with particular focus on the Letters to Lucilius. Finally, after bringing clarity to the above issue, the work seeks to note the resemblance between his thoughts and the theme today
The dissertation undertakes an analysis of the philosophical aspects of the Letters to Lucilius by Lucio Aneu Seneca, Stoic philosopher and Roman politician born in 4 BC. It seeks to investigate, from his work, his understanding regarding life and its finiteness in death. Although his work is extensive, this work will be limited to the Letters wherein the concept of death is more widely dealt with and didactically explained. In the first chapter, the foundations fundamentals of stoic philosophy are explained, which begins in ancient Stoicism through middle stoicism until Roman stoicism, period in which our philosopher is inserted. Thenceforth it deals with the understanding of his life and work in order to comprehend what it means, for Seneca, a good death and how meditating about death assists on the effort to understand it. Throughout this work it is discussed with some interpreters of Seneca's stoicism, with particular focus on the Letters to Lucilius. Finally, after bringing clarity to the above issue, the work seeks to note the resemblance between his thoughts and the theme today
A dissertação empreende uma análise dos aspectos filosóficos das Cartas a Lucílio de Lucio Aneu Sêneca, filósofo estoico e político romano, nascido em 4 a.C. Busca-se investigar, a partir de sua obra, seu entendimento a respeito da vida e da finitude na morte. Apesar de sua obra ser extensa, esta dissertação se limitará às Cartas em que o conceito de morte é mais amplamente tratado e didaticamente explicado. Em um primeiro capítulo, explicitam-se os fundamentos da filosofia estoica, que inicia no estoicismo antigo, passa pelo médio estoicismo até chegar ao estoicismo romano, período em que nosso filósofo está inserido. Passa-se então ao entendimento de sua vida e obra com o objetivo de entender o que é, para Sêneca, a boa morte, e em que medida o meditar sobre a morte auxilia em tal intento. Dialoga-se com alguns intérpretes do estoicismo senequiano ao longo do trabalho, sobretudo no enfoque das Cartas a Lucílio. Ao final, ao clarificar a questão, busca-se aproximar o seu pensamento com a atualidade do tema

Sénèque respecte scrupuleusement l’orthodoxie stoïcienne en affirmant à plusieurs reprises que la santé physique, en tant qu’« indifférent » moral, ne doit en aucun cas être un objet d’attention. Toutefois, parallèlement à ces considérations, il compose une œuvre dans laquelle la souffrance physique occupe une place considérable. La présente étude, à travers l’examen des théories et des représentations du dolor physique dans l’œuvre philosophique de Sénèque, se propose de résoudre ce paradoxe apparent et de déterminer précisément les fonctions d’un tel emploi. Dans un premier moment, après avoir défini la notion de dolor physique et établi une typologie précise, nous démontrons l’omniprésence du motif du corps souffrant et en dégageons les raisons externes, qu’elles soient socio-anthropologiques et culturelles, politiques, littéraires et même personnelles. Dans un deuxième temps, nous étudions la dimension médicale des représentations de la souffrance, afin de définir chez le philosophe le niveau de sa connaissance des auteurs spécialisés et l’origine possible des théories pathologiques et thérapeutiques qui affleurent dans son œuvre. Dans un troisième temps, nous envisageons le dolor physique au sein de la pensée philosophique de Sénèque. Nous nous employons à démontrer que le dolor physique possède une fonction éthique de premier ordre et que Sénèque ne se limite à présenter des éléments dogmatiques, mais développe également une série d’exercices pratiques permettant de sortir vainqueur du combat contre la douleur physique
Seneca scrupulously respects Stoic orthodoxy by repeatedly asserting that physical health, as a moral “indifferent”, should never be an object of attention. However, alongside these considerations, he composed a work in which physical suffering holds an important place. The intent of this study, through the analysis of theories and representations of physical dolor in Seneca’s philosophical works, is to solve this apparent paradox and to accurately establish the functions of such use. In a first time, after having defined the notion of physical dolor and established a precise typology, we demonstrate the omnipresence of the pattern of the suffering body and draw external reasons for it, whether they might be socio-anthropological and cultural, political, literary and even personal. In a second time, we study the medical aspect of the representations of suffering in order to define in the philosopher the level of his knowledge of specialized authors and the possible origin of the pathological and therapeutic theories that emerge in his work. In a third time, we consider the physical dolor in Seneca’s philosophical thought. We apply to demonstrate that the physical dolor has a first order ethical function and that Seneca does not confine himself to submitting dogmatic elements, but he also develops a series of practical exercises that allow to emerge victorious from the fight against physical pain

Notre thèse a comme point de départ la discussion critique d’un concept donné pour acquis par les spécialistes de la littérature et de la philosophie antiques. Il s’agit de la diatribe cynico-stoïcienne, ainsi nommée parce qu'elle ferait coexister des motifs cyniques et des thèmes stoïciens. Nous commençons par évaluer l'exactitude de la définition largement admise qui met la diatribe en relation avec toute une tradition d’argumentations relevant de la philosophie morale vulgarisatrice. Puis nous justifions notre choix d’accepter, en cherchant à les intégrer, certains acquits scientifiques récents, visant à défendre la diatribe comme un genre relevant de la méthode de direction spirituelle à l’intérieur des écoles philosophiques d’origine socratique, avec un accent particulier sur la situation d’énonciation maître-disciple. De ce genre littéraire controversé, d’origine grecque, nous analysons le passage à la latinité en examinant tout d’abord le problème terminologique, puis celui du cadrage philosophique. Parmi les procédés, définis comme diatribiques, nous nous intéressons à la seule caractéristique qui ne paraisse pas être mise en question et qui pour cette raison précisément pourrait servir de fondement à l’existence du genre même : le dialogisme et la présence d’un interlocuteur fictif. Nous concentrons ensuite notre attention sur l’œuvre de Sénèque, et notamment sur Les Lettres à Lucilius où la situation d’énonciation maître-disciple est intensément visible et dans laquelle la présence de l’interlocuteur fictif est structurellement liée au développement de cette relation. Nous passons ensuite à l’étude des formes diatribiques de la satire romaine afin d’aborder les cas de Lucilius, Horace et Perse. Un bref exposé est finalement consacré à l’analyse des relations entre la diatribe, la Seconde Sophistique et la prédication religieuse
The starting point of our thesis is the critical discussion of a concept taken for granted by literary and ancient philosophy scholars. This is the cynic-stoic diatribe, so named because cynical themes would coexist with Stoic ones. Our first step is assessing the accuracy of the widely accepted definition, which makes the connection between the diatribe and a tradition of topics relating to moral popular philosophy. Then we explain our choice to accept and to try to integrate recent scientific acknowledgments which accept the diatribe as a literary genre relating to the spiritual guidance method of the Socratic philosophical schools, with a particularly attentive focus on the relationship between master and disciple. Starting from this controversial genre of Greek origin, we analyze the transition to the Roman period, by first examining the terminological aspect and then the philosophical framing. Among the methods, defined as diatribic, we focus on the only feature which does not appear to be challenged and that for this exact reason could be the basis of the existence of the genre itself: dialogism and the presence of a fictitious interlocutor.We then focus our attention on Seneca's work, and particularly on Letters to Lucilius, where the attempt to create a master-disciple relationship is intensely visible, and in which the presence of a fictitious interlocutor is structurally related to the development of this relationship. Then we discuss the diatribic forms of Roman satire, to reach Lucilius', Horace's and Persius' cases. A brief presentation is finally devoted to the analysis of relations between the diatribe, the Second Sophistic and the religious preaching

Orientador: Paulo Sérgio de Vasconcellos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho objetivou verificar que aspectos de conceitos encontrados durante a época republicana de Roma - como, por exemplo, a glória, a liberdade, a fama etc - se mostram na obra de Sêneca (4 a.C. - 65 d.C.). Constatou-se que a maneira segundo a qual o filósofo constrói essas noções difere da de Cícero (106 - 43 a.C.). Pode-se dizer, seguramente, que Sêneca "interioriza" conceitos que estavam, antes do Império, restritos a um contexto social e político. Para o Estoicismo, o importante é a vida moral dos seres humanos, e é nesse campo de ação que os escritos de Sêneca se desenvolvem. A investigação pretendeu demonstrar o modo como Sêneca trata os conceitos romanos, apresentando, de maneira original, as noções equivalentes gregas. Em sua obra, notadamente nas Epistulae morales ad Lucilium e em alguns Dialoghi - como o De breuitate uitae e o De tranquillitate animi - o filósofo emprega instrumentos linguísticos lexicais e morfossintáticos (esses últimos, de modo mais numeroso) referentes à interioridade. Em Sêneca, não somente os recursos linguísticos como também os imagéticos constituem parte do processo de interiorização. Nosso intuito, neste presente estudo, buscou expor tais recursos na medida em que surgiam juntamente com os conceitos por nós trabalhados
Abstract: This dissertation aimed at ascertaining which aspects found during the republican time period in Rome - for instance glory, freedom, fame, among others - are evident within Sêneca's work (4 BC - 65 AD). It was observed that the way this philosopher goes about building these notions is different from that of Cícero (106 - 43 a.C). One may firmly state that Sêneca "interiorizes" concepts that had been, prior to the Empire, restricted to social and political contexts. To Stoicism, the most important thing is the moral life of human beings, and it is within this field of action that Sêneca's writings are developed. This investigation intends to show the way Sêneca deals with these Roman concepts by showing, in an original way, the equivalent Greek notions. In his work, notably in Epistulae morales ad Lucilium and in some Dialoghi - such as De breuitate uitae and De tranquillitate animi - the philosopher makes use of linguistic instruments such as lexical and morphosyntactic ones (the latter being used more frequently) to refer to interiority. Within Sêneca's work, the process of interiorization involves not only linguistic but also imagery resources. Our goal, in the present study, sought to expose these resources as they emerged along with the concepts we work with
Doutorado
Linguistica
Doutor em Linguística

Le phénomène de laïcisation, qui, dans nos sociétés occidentales, cherche à s’affranchir du sacré, a contribué à l’émergence d’une figuration de l’humain au centre de l’univers. Malgré ce progrès, perdurent aujourd’hui, sur le terrain même de la laïcité, des traces du sacré qui induisent des tensions entre foi et savoir. Deux universaux, qui légitimement s’attirent et se repoussent, interrogent plus fondamentalement l’humain, allant jusqu’à remettre en question l’élaboration ontologique dont il a fait l’objet. Un constat qui pose le diagnostic de sa propre fin. En effet, la question de l’anthropos persiste malgré tout à s’articuler à l’intérieur de la tradition de la religion. Si la modernité, notamment amorcée par l’anthropologie kantienne, pose les premières tentatives d’une émancipation du sacré en prônant l’autonomie de la raison, il reste que l’idéal de cet humain, dit laïc, ne renonce pas vraiment au monde de Dieu. Et, pour cause, il se représente toujours sur le terrain de la laïcité en contraste avec l’humain religieux. Cherchant à dépasser les résistances relatives au monde de Dieu, je propose de faire émerger et de se représenter, au travers d’une expérience de la pensée, l’humain laïc par-delà le geste interprétatif imposé par l’institutionnalisation de la religion. Je remonte donc aux premières traces de l’humain qui persistent dans ses testaments, ses métarécits, avant tout humain. Des testaments qu’on pourrait croire oubliés, mais non perdus. Je remonte comme un archéologue de la langue au moment des premières nominations dans l’écriture qui surgissent de la Genèse. À ces Écritures qui, en définitive, viennent aussi rappeler que le syndrome de Babel plonge toujours l’humain dans sa propre dissémination, celle de son nom propre. Surgit la nécessité de se traduire comme une oeuvre, à nouveau, dans sa propre langue, pour survivre. Se traduire, pour « se savoir » humain, plutôt pour « se savoir anthropos ». Pour en comprendre la tâche, j’ai convoqué trois anciens : Paul de Tarse, Sénèque et Clément d’Alexandrie. J’ai scruté et croisé les mises en scène des nominations de l’humain à partir des occurrences du mot « anthropos » et « homo » dans l’écriture en écartant le plus possible le prisme interprétatif imposé par l’institutionnalisation de la religion. Je me suis inspiré d’un dispositif interprétatif stoïcien à partir d’Épictète pour faire surgir, au travers d’une mise en dialogue de ces trois anciens, la traduction d’un humain laïc. Une traduction qui relève d’une anthropologie du bonheur fondée sur la cohérence des disciplines du jugement, du désir et de l’action. Une traduction, certes, mais aussi une expérience d’écriture qui a amené à penser, en dernière instance, qu’au demeurant, avant la lettre, il y a lieu de penser l’émergence d’un anthropos, ni profane, ni sacré, ni religieux, ni laïque, qu’il y a lieu de « se savoir » anthropos
The secularization phenomenon, which in our western societies seeks to free itself from the sacred, has contributed to the emergence of a human figuration at the centre of the universe. Despite this progress, traces of the sacred that induce tensions between faith and knowledge continue to prevail today within secularization. These two universal concepts, which legitimately attract and repel each other, fundamentally question the human, to the point of putting into question the human’s underlying ontology. An observation that poses its own diagnosis. In fact, the question of the anthropos continues to articulate itself within the tradition of religion. If modernity, initiated by Kantian anthropology, poses the first attempts of an emancipation of the sacred by advocating the autonomy of reason, this idealized secular human does not renounce the world of God. And with good reason, as it is always represented as secular in contrast with the human of the religious sphere. Seeking to overcome all forms of resistance regarding the divine dimension, I propose letting the human emerge and come to be represented by means of a thought experiment that extends beyond the interpretative gesture imposed by the institutionalization of religion. I will go back to the first traces of the human that persist in early documents and texts that precede the concept of human as we understand it. This legacy may have been forgotten, but it was not lost. In the manner of an archaeologist of languages, I return to the first moments of naming in writing that takes place in Genesis. In these writings, which recall the event of Babel that plunges the human into the dissemination of its proper name, emerges the need for the human being to translate itself anew, as a work, in its own language, just to survive. Translate itself in order to know itself as human rather than as "anthropos". To understand the modalities of this task, I’ve brought together the ancient thinkers Paul of Tarsus, Seneca, and Clement of Alexandria. In analyzing these writings, I have scrutinized and cross-referenced the nominations of the human from the occurrences of the words "anthropos" and "homo", while avoiding as much as possible the interpretive prism imposed by the institutionalization of religion. I sought inspiration from a stoic interpretive framework deriving from Epictetus to create, through dialogue with these three ancient thinkers, the translation of the secular human. A translation that stems from the anthropology of happiness based on the coherence of the disciplines of judgment, desire and action. A translation, has ultimately led to thinking that, avant la lettre, before writing, there is a way to think the emergence of anthropos, neither profane, sacred, religous or secular, that there is a way to "know oneself" as anthropos

At the end of the fourth century A.D. an anonymous Christian author wrote fourteen letters, in Latin, in the form of a correspondence between St. Paul, Apostle to the Gentiles, and the Roman Stoic philosopher Seneca the Younger. This work of fiction was inspired in part by perceived similarities between Christian belief and Seneca's version of Stoicism. As far as Seneca is concerned the similarities are coincidental. The letters of St. Paul display evidence of Stoic influence, but that influence stems from Greek sources rather than from Seneca. Anonymous might have gained his knowledge of Seneca's thought directly from the philosopher's own works or from the works of earlier Christian authors writing in Latin who referred to, or quoted from, Seneca. The creator of the apocryphal correspondence between philosopher and apostle was not the first Latin Christian to note the similarities between Stoic and Christian beliefs. He was, however, the first to suggest that Seneca and St. Paul had been on friendly terms. An unexpected aspect of this correspondence is its portrayal of Seneca as the teacher of Latin style to St. Paul rather than, as might have been expected, Paul as Seneca's instructor in Christianity. The letters also depict Paul, a Hellenised Jew, as abandoning Judaism by converting to Christianity. Such representations of the principals require an explanation. Why, when the Empire was officially Christian, did the author feel a need to show that Seneca, a pagan philosopher who had died more than three centuries earlier, had been at least sympathetic to Christian belief and perhaps a secret convert? The answer suggested by this thesis is that despite the official triumph of Christianity, pagan ritual had not been obliterated. Many of Rome's traditional aristocratic families tended still to adhere to the old ways. These families were too powerful to be coerced, they had to be persuaded. Seneca, a member of the senatorial aristocracy, who had lived at the time of the birth of Christianity, provided the perfect example for such families to emulate. An answer is also proposed to the question of why the author of the correspondence thought it was important to portray Paul as a Christian. At the time the correspondence appeared Judaism was still a force to be reckoned with. It continued to attract converts, some of whom were Christians. There were still Jewish Christians who continued to obey Jewish Law, yet insisted that they were Christian. Too many Gentile Christians, in the eyes of church authorities, maintained old links with the Jewish community and even forged new ones. Some Christians regarded the synagogue as an alternative source of authority. All these groups had to be shown the error of their ways. The portrayal of Paul as a Christian who had abandoned his Jewish heritage could only assist in this ambition.

This thesis aims to illuminate Seneca’s criticisms of Neronian Rome through a novel exploration of the philosopher’s collection of moral letters – the so-called Epistulae Morales ad Lucilium. Noting the glaring absence of court politics in these letters the thesis identifies themes of dissimulation and veiled criticism, penned by Seneca in a concealed manner to ensure his safety during a time of dire political unrest. The first chapter establishes the cultural context of this collection by examining how they fit in with the practice of elite Roman letter writing. This line of inquiry stems from a longstanding question in the scholarship as to whether the Epistulae Morales are letters in the earnest sense, or merely a literary-philosophical exercise contrived by Seneca. The chapter concludes that the letters can be seen as genuine, exchanged with their addressee. They were, however, also written for the wider senatorial class who are clearly the subject of Seneca’s moral discussions. The second chapter examines the circumstances which preceded the writing of these letters in order to identify points of political tension under Nero’s reign. Drawing on the Neronian books of Tacitus’ Annals and earlier Senecan treatises, this chapter identifies themes of political ideology (clemency, libertas, tyranny, superbia) which shaped the ongoing altercations between senate and emperor during Nero’s rule. With the political tensions identified, the third chapter unearths the underhanded ways in which Seneca criticises Nero’s reign throughout the letters. Additionally, this chapter showcases a range of techniques employed by Seneca to disguise his criticisms in order to maintain deniability and avoid persecution. The fourth and final chapter examines Letters 14 and 18 in detail, illustrating the techniques discussed in the preceding chapter and bringing to light Seneca’s veiled criticisms of Nero’s regime. The pair of case studies demonstrates that Senecan criticisms are present throughout the collection, and are apparent in both letters with overt political themes (eg. Letter 14) and those which are, at first glance, seemingly mundane and commonplace (eg. Letter 18).
Thesis (MPhil) -- University of Adelaide, School of Humanities, 2021

Tese de doutoramento em Estudos Clássicos , no ramo de Mundo Antigo, apresentada ao Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra
Diligente instrumento de pedagogia da uirtus, o estoicismo moldou o pensamento de Séneca. Uma das grandes máximas da doutrina do Pórtico, que ecoa por toda a obra do autor, é naturam sequi – ‘viver de acordo com a natureza’. Assim, para atingir a suprema virtude, defendem os estóicos que o homem deve submeter-se à lei da natureza que é lógos e expressão da vontade divina, na observância de uma ordem cósmica universal. Estabelecem, portanto, uma correlação directa entre razão e natureza, felicidade e moral: agir de forma moralmente aceitável implica adequar as decisões humanas à racionalidade da lex naturae. A este propósito, já as considerações das Naturales Quaestiones reflectem o amplo fascínio pelos fenómenos meteorológicos e mecanismos cósmicos, fundando a moral no conhecimento da phýsis. Com efeito, a sua dramaturgia também não foi estranha a esta influência: entre outras, plasmam ideologicamente o corpus tragicus noções como a do cosmos, organismo regulador das naturales et humanae res, ou a da estreiteza do vínculo simpatético entre homem e universo. Dilaceradas interiormente, as suas personagens encarnam o conflito ratio/ affectus, tomando decisões que resultam em comportamentos desviantes, que as afastam inevitavelmente da tranquillitas animi. Exemplum negativo, essa conduta irracional perturba e subverte as leis naturais – natura uersa est. Pretende-se, pois, com este estudo apresentar uma reflexão crítica sobre a conceptualização da natureza como elemento fundamental na construção dramática senequiana, partindo de um corpus de oito tragédias do autor. Conceito polissémico e multifacetado, a natura ganha inestimável valor ideológico, metafórico e plástico na produção teatral do poeta-filósofo, assumindo diferentes manifestações, como a cosmológica, fisiológica, toponímica ou ética. Na primeira parte do nosso estudo, recuperamos a teorização sobre a phýsis como fundamento do sistema filosófico estóico, destacando os mais significativos princípios cosmológicos e morais, imprescindíveis para a compreensão da natura trágica. Procuramos, depois, num segundo momento, centrar a análise na especificidade da estética dramática senequiana, designadamente na forte correlação entre palavra e imagem no desenho de espaços e ambientes naturais. Para esse efeito, invocamos valiosos contributos de áreas diversas como a Estética, Fenomenologia, Filosofia, Retórica e Literatura. Enfatiza-se a evolução da ideia de Belo, o sentimento de grandiosidade ‘sublime’ da natureza e a fusão do estado de alma do sujeito-poético com a paisagem. Sublinhamos ainda a questão dos riscos pedagógicos inerentes ao emprego do ‘grotesco’ e do ‘excesso’ na fruição estética e moral da obra artística. À luz dos anteriores pressupostos, a terceira parte da pesquisa centra-se com pormenor na participação da natureza no drama senequiano. Apresentamos uma selecção crítica de excertos do corpus dramático, cuja análise estilístico-semântica se organiza em torno de cinco grandes temas: o fogo e a expressão do affectus; a imagem marítima, e a tempestade como mecanismo ecfrástico; a metáfora animal no delineamento físico, comportamental e moral das figuras; a desordem cósmica como projecção do caos humano e social; o locus horrendus, espaço de tirania e horror, e a intrusão dos inferna no mundo dos vivos. O nosso estudo procura, portanto, demonstrar que o visualismo pictórico e a dimensão animata da natura trágica se revela uma peça-chave na tragédia do Cordubense, do ponto de vista estrutural, ideológico e dramatúrgico. De facto, o mundo natural participa activamente no desenvolvimento dos dramas: contribui para o delineamento de paisagens e espaços e para a composição dos caracteres humanos, em especial nos processos de metamorfose de homens em monstra. Sensível, reactiva e animizada, a natureza senequiana corrobora o inquebrável pacto entre macro e microcosmos, o ‘nó sagrado’ de que falava Marco Aurélio. A par da prosa, o drama senequiano apresenta-se como admirável instrumento pedagógico de parénese estóica. Por meio dos mythoi, Séneca procura advertir para a imprescindibilidade da rejeição dos uitia, a fim de conciliar as acções humanas com o pressuposto exclusivo do homem, a perfecta ratio. Na verdade, a moralidade imanente à natura serve de elo estético e ético entre os vários dramas: o summum bonum cumpre-se no naturam sequi.
Stoic philosophy shaped Seneca’s thought, as a diligent tool for teaching uirtus. One of the most important Stoa’s aphorisms echoing through Seneca’s entire work is naturam sequi – ‘living according to nature’. Thus, in order to accomplish the supreme virtue, the Stoics claim that man should conform to nature’s law – lógos and expression of divine will – complying with a cosmic and universal order. They establish therefore a plain correlation between reason and nature, happiness and morals: behaving in a morally acceptable way implies matching human decisions with lex naturae’s rationality. In this regard, Naturales Quaestiones’ explanations mirror Seneca’s profound fascination with Physics, meteorological phenomena and cosmic events, basing morals on the knowledge of phýsis. In fact, Seneca’s drama embraces likewise this relevant influence: among other aspects, the perception of cosmos as a regulatory body of naturales et humanae res or the narrowness of the sympatheia between man and universe shape Senecan corpus tragicus. Emotionally torn, his characters embody the ratio/ affectus conflict, making decisions causing deviant behaviors, which inevitably depart them from tranquillitas animi. This irrational pattern, understood as a negative exemplum, disturbs and subverts natural laws – natura uersa est. This thesis aims to offer a critical analysis on nature as a foundational element in Senecan dramatic work, based on a corpus of eight plays. Presenting it as a polysemic and versatile notion, the roman poet-philosopher brings natura to an ideological, metaphorical and plastic level, adopting different approaches such as cosmological, physiological, toponymic or ethical. In the opening chapter of our essay, we review the theorization on phýsis as a key concept for the Stoic philosophical system, stressing the most significant cosmological and moral principles, crucial for understanding tragic natura. The second part of our research focuses on the distinctiveness of Seneca’s dramatic aesthetics, mainly the strong correlation between word and visual depiction in the design of natural atmospheres and settings in his dramas. For this purpose, we rely on valuable contributions from different fields of knowledge such as Aesthetics, Phenomenology, Philosophy, Rhetoric and Literature. Among other aspects, we emphasize the evolution of the theory of Beauty, the grandeur of the “sublime” in nature and the merger of the poet’s state of mind with the landscape. In addition, we address the issue of the inherent risks in the use of ‘grotesque’ or ‘excess’ in the aesthetic and ethical enjoyment of the artistic work. Considering the previous assumptions, the third part of the study focuses in detail on the participation of nature in Seneca’s plays. Based on a critical selection of excerpts, we present a semantic and stylistic analysis, which we organize around five key ideas: fire and the expression of affectus; the nautical imagery and the storm as an ecphrastic technique; the metaphor from the animal world and the development of character design – physical, behavioral and ethical; cosmic disorder as projection of human and social chaos; the locus horrendus, space of tyranny and horror, and the interference of the inferna in the world of the living. Our study aims therefore to demonstrate that the pictorial and animato visualism of the tragic natura is a key element in Senecan tragedy, from a structural, ideological and dramaturgical point of view. In fact, the natural world plays an active role in the development of plots: it cooperates in the sketching of spaces, landscapes and human ethe, namely in processes of metamorphosis from men into monstra. Sensitive, reactive and humanized, nature supports the unbreakable bond between macro and microcosm, the Marcus Aurelius’ “sacred knot”. Alongside his philosophical prose, Senecan drama emerges as a remarkable pedagogical tool for Stoic paraenesis. The mythoi urge the audience to discard uitia and to match human action with the exclusive human asset, the perfecta ratio. After all, the inherent morality of nature acts as an aesthetic and ethical liaison between the plays: the summum bonum fulfills itself in naturam sequi.

Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style.
Graduate
2020-12-14