Dissertations / Theses on the topic 'Sénèque (0004 av. J.-C.-0065). Apocolocyntosis'
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Durand, Céline. "Docere ridendo mores : satire et philosophie chez Sénèque." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL026.pdf.
This doctoral thesis aims at studying the place of satire in Seneca's literary and philosophical works. Starting with a work that is often left out of Seneca's corpus, the Apocolocyntosis, we endeavour to identify the characteristics of Seneca's satirical writing, in order to understand how it spreads throughout his work and becomes one of the major instruments of philosophical parenesis. These aesthetics of combination and distortion, which rely on a need for monstration, involve the creation of impassioned and disparaged figures, the antimodels, who become the major protagonists of Seneca's thought. Indeed, Seneca recourses more often to the examples of mad, voluptuous, angry men, than to the traditional models, to illustrate his thought. His aim is to create repellent figures who will have a positive influence on the reader, through the disgust or derision they will provoke. Seneca also applies this rhetorical strategy to his developments on political philosophy. His position at the Roman court and the tyrannical excesses of the governing men nevertheless forced him to play with the conventions of satire in order to criticise more or less discreetly the mighty, to educate the princes and to lead them towards a moral reform that would make them happy men, wise men, but above all good rulers
Alberti, Carine. "Théâtre et philosophie dans les tragédies de Sénèque : Agamemnon, Oedipe, les Phéniciennes et Thyeste." Paris 4, 2001. http://www.theses.fr/2001PA040175.
The analysis of 'Oedipius', 'Phoenissae', 'Agamemnon' and 'Thyeste' shows Seneca's real originality in the writing of his tragedies. Focusing on the characters of his tragedies - just like man in stoic thoughts - Seneca depicts their errors and their passions to bring their own responsability to light. The burden of fate exists only in the heroes' mind, who are overhelmed with their "affectus" and can'st be wise. The heroes are therefore resolutely responsible for their decisions and their acts. So they can be free in an apparent mythical determinism. Consequently the whole tragical universe is changed by the stoic influence : hero and man's tragic conditions mingle in the freedom they often misuse
Manenti, Jean-Luc. "Physique et métaphysique de l'immortalité chez Sénèque." Paris 4, 2001. http://www.theses.fr/2001PA040089.
Seneca speaks about life after death in different ways. Sometimes, he follows stoic doctrine and thinks soul survives until universal conflagration ; sometimes, for example in Consolations, he speaks like Socrat : wether death reduces us to non-being or translates us elsewhere, we have no reason to be afraid of it. .
Paré-Rey, Pascale. "Flores et acumina : les sententiae dans les tragédies de Sénèque." Toulouse 2, 2005. http://www.theses.fr/2005TOU20033.
First, we delimitate our object of search : antic rhetoric is compared with SENECA's tragedies, sententious works and genres are mentioned, corpus, with different strata, is set up, so as its fonts. Then we study how tragic sentences renew proverbial, gnomic and theatrical traditions, and organize themselves according to numerous criteria (cantica and diuerbia, narrative and conflicting scenes, monologues and stichomythic dialogues), showing their theatricality and their integration in textual structure. Finally, we define four functions for the sententiae : expressive, didactic, impressive and poetic one. They express paradoxically because impersonnally characters' secret theatricality, revealing or disguising their passions in a complex relation between tragic words and pain. Questioning again links between sententiae, philosophy and tragedy, we discern various ranges of reception, depending on the type of public. Argumentative weapons, offensive or defensive ones, they use logic, ethic and pathetic means of persuasion. And, delighting flores, able to placere, and acumina, able to ferire, their sublim brevity is striking
Debleds, Xavier. "Le théâtre de Sénèque et la tragédie espagnole au temps de Philippe II." Paris 10, 2003. http://www.theses.fr/2003PA100179.
It has been asserted for a long tune, without giving reliable proofs of it, that the Spanish tragedians of the end of the XVI` century, as it has been the case few decades before that tune in the rest of Europe, drew their inspiration from the Seneca's tragedy. Eminent critics, in the soon XX" century, looked forward to a careful comparative study of the texts, only way, in their opinion, of confirming that hypothesis. This work fins that lacuna and brings along irrefutable proofs of such an influence. After the state of the question, it deals with the problem of its transmission. The case is to try to determinate wether this senecan print was the result of a direct knowledge of the latin poet's tragedies, born in Cordoba, Spain, however forgotten for centuries and rediscovered only in the late XV`" century, or wether, on the contrary, it forced it self upon the Spanish tragedians, in a second degree, by an imitation of other European tragedies, particularly the Italian ones. A triangular comparison opens tracks about that subject, without nevertheless exhausting it. Finally, a thorough study of our six poets' drama and of Seneca's one, through each of the twenty four plays, corroborates the existence of such an influence, yet already prooved by the presence of a massive verbal borrowing
Delpeyroux, Marie-Françoise. "Aspects du temps chez Sénèque." Paris 12, 1996. http://www.theses.fr/1996PA120040.
Seneca the philosopher (ca. 5 b. C. - 65 a. D. ) was closely interested in time : all his writings are more or less concerned with this notion, the consolations as well as the dialogues and, later in his career, the letters and the naturales quaestiones. Nevertheless, he did not bother to define the concept clearly. We think this is due to the fact that he is more concerned with the ethical and existential aspects of time than with its physical and mathematical definition, as sought by greek philosophers : aristotle, the stoics and the epicureans. The purpose of the present research is to investigate the manifold aspects of time in seneca. We will first consider cosmological time, linked with the motion of the stars and the universe. The cosmos-creating and destroying process is included in stoic physics, as well as the question of the immortality of the soul. But time also intervenes in human and social action, mostly in the de beneficiis. Seneca's originality appears still more clearly in his treatment of time as a crucial factor in fighting against the affections of the soul, be it anger or sorrow -or again in his analysis of moral progress, necessarily situated in the course of time. All these reflections lead seneca to an ambiguous judgment on time, which he views both pessimistically as an entropic factor of decay, and more optimistically as the instrument which allows the accomplishment of wisdom in human life
Auvray-Assayas, Clara. "Folie et douleur dans Hercule Furieux et Hercule sur l'Oeta : recherches sur l'expression esthétique de l'ascèse stoïcienne chez Sénèque." Paris 4, 1987. http://www.theses.fr/1987PA040006.
Abdallah-Farhat, Taïeb. "Le système de pensée de Sénèque." Paris 4, 1985. http://www.theses.fr/1985PA040073.
Brasme, Catherine. "La poétique auctoriale dans les tragédies de Sénèque : stratégies d'auteur : modalités d'émergence du discours auctorial et élaboration de la communication littéraire au seuil des tragédies sénéquiennes." Lille 3, 2004. http://www.theses.fr/2004LIL30013.
Aygon, Jean-Pierre. "La descriptio-ecphrasis dans les tragédies de Sénèque." Toulouse 2, 1998. http://www.theses.fr/1998TOU20059.
A careful study of "description" in Antiquity reveals to what extent the ancient conception differs from the modern one. Part of narratio, descriptio or ecphrasis represents an important moment whose role is not merely informative: of varying length it is distinguished by a finely wrought style, using for instance an accumulation of details to produce a particularly clear view of the intended object, whatever it may be, as well as the illusion of its presence; of itself it is not endowed with any static character and may rather provoke a strong filling. Thereafter, a catalogue of these descriptiones in Seneca's tragedies was established, and a detailed study of numerous texts was carried out based on precise comparisons with passages borrowed from earlier works, the whole presented thematically. The specificity of these ecphraseis is thus brought out: no unnecessary picturesqueness, a painting by repeated touches in order to produce a prevailing impression, picturalism; awful and gory descriptiones are not systematically favored. In consequence, Seneca appears less prone to mannerism than preoccupied by aptum; the result is the work of a poet. Finally, these descriptiones fulfill four main functions, which may even combine together: a mimetic function, by suggesting the world of theatrical fiction ; an expressive function, by describing what a protagonist perceives or feels; an impressive function, by displaying the power conflicts between protagonists ; a symbolic function, by bringing out the aesthetic or philosophical meaning of each play. Far from making up merely rhetorical set-pieces, or imparting an epic character to Seneca's theater, ecphraseis are instrumental in providing the dramatic unity of the tragedies
Samier, Pascaline, and Sénèque. "Enquête sur les œuvres perdues de Sénèque le Philosophe." Paris 4, 2001. http://www.theses.fr/2001PA040086.
The works of Seneca the Philosopher (circa 1 A. D. -65 A. D. ) were much wider than what is known to us. According to what F. Haase (Teubner, Leipzig, 1853) gathered, we offer a French translation and a commentary of the various statements and fragments that the Anciens left to us, especially the first Christian apologists (Lactance, Saint Jerome, Saint Augustin). The most significant essays are the ones concerning moral science (De matrimonio, De amicitia, De superstitione, Exhortationes, De immatura morte, Moralis philosophiae libri) and they enhance the teaching of the Stoicist philosopher. But among his contemporaries he was considered as a man of science : from his youth and his Corsican exile, he displayed a sharp interest for scientific and geographical matters, as reveal the titles : De motu terrarumn De forma mundi, De lapidum natura, De piscium natura, De situ Indiae, De situ et sacris Aegyptiorum. Some other works, tighly connected with his life, enhance the stature of the man. His involvement in politics brought him to issue numerous speeches (orationes), he widerned his correspondence to others than Lucilius (epistulae), he experimented some poetry, he wrote a biography of his father (De vita patris) and ultimately reported his last words (Postrema verba ante mortem et codicilli). Furthermore some lost works (De officiis probably) can be studied through their renewed use in two compilations from the late Ancient times : anonymous De remediis fortuitorum liber and Formula honestae vitae by Martin of Braga (6th century A. D. )
Vidal, Arlette. "Apologétique et philosophie stoïcienne : essai sur la permanence de Sénèque chez les Pères latins de Tertullien à Lactance." Paris 4, 1986. http://www.theses.fr/1986PA040195.
This thesis analyses the phenomenon of Seneca’s Christianization through the works of the Latin fathers, Tertullian, Minucius Felix, Cyprian and Lactance. It throws light on the recourses these theologians have to Seneca’s stoical concepts and on the alteration of Seneca’s thought, pulled out of a coherent philosophical system, to be implanted in a religion in process of intellectual elaboration. The method, which is chosen, is dictated by the way these fathers make use of the philosopher. Tertullian and Lactance quote him : these quotations are the beginning of a comparative study ; Minucius Felix and Cyprian don't refer to him : literal and thematic comparisons are drawn. In Tertullian and Seneca’s works, the criticism of superstition, the use of patience, eschatology and theology are compared ; which raises the question about the validity of Seneca saepe noster. Christian humility, ignored by Tertullian, is wrongly attributed to Seneca. The father's crypto-stoicism appears in his developments on the natural knowledge of god, the logos, natural law. Minucius Felix traces an apology of martyrdom from Seneca’s description of the suffering wise man and, to refute the pagan charge against Christianity, he uses an argumentation taken from the philosopher, without being influenced by his thought. Cyprian collects moral themes and sociological analyses in Seneca’s works. A study of the context of the insertions of Seneca’s numerous fragments in Lactance's works and of the father's interpretation of them, reveals the philosopher's Christianization : Seneca’s god acquires Christian features (uniqueness, nature, agnesis, the power of an ex-nihilo creator, the judge and the guardian of conscience) and immortality becomes the reward for virtue. Lactance asserts god's irascibility by using Seneca’s De ira. Once Christianized, the philosopher is, in history, the sign of the irreducibility of Christianity to stoicism
Humeau, Marie. "Sénèque et la pédagogie de la dérision : enjeux éthiques et esthétiques du rire dans les "Lettres" et les "Dialogues"." Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003947870204611&vid=upec.
WHAT IS SENECA'S DEFINITION OF LAUGHTER, AND WHICH FUNCTION DOES HE GIVE TO THAT PHENOMENON IN HIS WRITINGS ? CAN WE FIND THERE A REFLECTION OF WHAT IT WAS TO LAUGH UNDER NERO ? LAUGHTER, AS A FAMILIAR HUMAN EXPERIENCE, IS RELATED TO EMOTIONAL LIFE, AND THUS OFFERS THE PHILOSOPHER A WIDE FIELD FOR OBSERVATION. ROMAN LAUGHTER, IN SENECA'S WRITINGS, APPEARS TO BE ESPECIALLY AN INTENTIONAL GESTURE, WHICH AIMS TO POINT OUT PUBLICLY THE ± STRANGENESS α OF A PERSON. THIS SOCIAL SIGNAL, INDICATING CONTEMPT, CAN CAUSE DEEP MORAL SUFFERING IN THE VICTIM'S PSYCHE : IN ORDER TO AVOID PASSIONAL REACTIONS SUCH AS ANGER AND PAIN, SENECA SUPPLIES SPIRITUAL MEANS OF DEFENCE, INSPIRED BY STOICISM. BESIDES, LAUGHTER, AS AN IMAGE OF EMOTION, CAN BE USED BY SENECA AS A SYMPTOM OF THE PASSIONS. BUT LAUGHTER CAN ALSO BECOME A SYMBOL OF PHILOSOPHIC DETACHMENT : LEARNING TO LAUGH ABOUT POVERTY, PAIN, FEAR, REVEALS A STRONG AND CONTROLLED WILL. THE LAUGHABLE IS ALSO A POWERFUL MEANS OF PERSUASION, WHICH IS USED BY SENECA TO CONVERT THE READER TO STOIC ETHICS. THROUGH HUMOUR AND WIT, HE AIMS AT TOUCHING HIS READER AND COMING CLOSER TO HIM ; AND THROUGH DERISION, CARICATURE AND GROTESQUE, HE TRIES TO KEEP EVIL AT A DISTANCE. THUS SENECA’S IDEA OF LAUGHTER, AND HIS USE OF THE LAUGHABLE, REVEAL HIS RICH AND COMPLEX RELATION TO EMOTION
Picco-Archer, Estelle. "Exil et écriture : essai sur les oeuvres écrites par Cicéron, Ovide et Sénèque durand le temps de l'exil." Nancy 2, 1999. http://www.theses.fr/1999NAN21006.
Brun-Bernolle, Marie Anne. "Le Vocabulaire latin des eaux." Paris 10, 2000. http://www.theses.fr/2000PA100190.
Blaise, Raphaël. "Mystère et révélation : Le ciel dans la philosophie romaine de Lucrèce à Sénèque." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040018.
The sky is omnipresent in the works of Roman philosophers of the 1st Century B.C. and the 1st Century A.D. It is present in the works of the Epicurian Lucretius, those of the neoacademician Cicero, and those of the Stoics Manilius and Seneca. This dissertation argues that there exists, beyond the differences between these thinkers as individuals, a unique gaze upon the sky that is proper to Roman philosophy. The sky is more than just an observable object; it is a representation. The Latins are the inheritors of a long tradition of the gaze: by raising their eyes skyward, they are simultaneously contemplating the sky of the Greek and Chaldean astrologi, that of the physicians, and that of the poets. Roman thought brings together all of these gazes in an original way: the philosophy of the sky is informed and enriched by both an astronomical dimension and by a metaphoric dimension. Nonetheless, the Latins have an ambiguous position with respect to astronomy: with the exception of Manilius, they are wary of this discipline, which is too far philosophy’s inferior. And yet, they cannot bear not to discuss it. Indeed, the metaphoric gaze becomes an integral part of philosophy’s project. The physical study of the sky certainly intends to desacralize it, but the authors’ fascination for the firmament frequently leads them to make it out to be a place apart. By virtue of its beauty and mystery, it becomes a symbol of human aspirations: it represents the ideal of virtue and could even reveal secrets usually reserved for the sage. Although careful not to yield to superstition, the Latins know how to contemplate with emotion: their philosophy of the sky is a philosophy of enthusiasm
Caigny, Florence de. "Imitation, traduction et adaptation des tragédies de Sénèque aux XVIe et XVIIe siècles en France." Paris 4, 2004. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=FcaMS01.
The influence of Seneca's drama in XVIth and XVIIth century France is both surprising and paradoxical. Between the revival of French tragedy in 1553 and its renovation in the late 1620s, authors drew on his works for their own productions, and continued to do so after the debate over the French classical rules had taken place. However, from the middle of the XVIth century onward, theorists became increasingly critical of his works. Seneca gradually lost his position as a model to be imitated and was challenged on the grounds that the constructions of his plays were too static, his subjects too violent, and his elocution too artificial. In order to answer the question of his persisting influence it is necessary to study and confront the mimetic theories of the period, the reflections on the tragic genre and the particular features of Seneca's drama. The exemplary nature of his subjects, most fitted to a copious use of language, was considered by XVIth dramatists as a model that was fully compatible with their ambition to illustrate the French language. During the XVIIth century, as they undertook to create a distinctly French tragedy, the dramatists continued to make use of some elements that testified to Seneca's enduring (if sometimes concealed) presence. He was also being restored to favour by the translation of his tragedies
Bauduceau-Cros, Nathalie. "L'empereur et le tragique : interactions du tragique et de la politique dans les relations de Sénèque et Néron." Paris 10, 2005. http://www.theses.fr/2005PA100117.
Although drama is regarded as essential in the analysis and condemnation of Nero's tyrannical acts, it is often considered as having little influence on Seneca's political activity and historical role. This study examines to what extent the relations between Seneca and Nero exemplify the close connection between tragedy and politics. The first part deals with the origin and evolution of the bond between the emperor and the philosopher : beyond their increasing divergences, Seneca and Nero definitely share a strong liking for drama, and especially tragedy. The second part investigates the category of tragic prince, in which Nero may seem to be defined, and the contribution of senecan tragedies, which renew and enrich a tradition of political drama inherited from the Republic. Finally, the third part studies what Seneca's tragedies provide to the reflection about the reign of Nero, and the dark side of absolute power
Hounsounon-Tolin, Paulin. "De l'interdépendance de l'anthropologie, de la cosmologie et de la théologie dans la cure philosophique (Sénèque et la vertu de la bonne représentation des choses)." Paris 1, 2000. http://www.theses.fr/2000PA010544.
Mouchel, Christian. "Cicéron et Sénèque dans la rhétorique de la Renaissance : le débat sur "le meilleur style" dans la littérature érudite de 1555 à 1620." Paris 4, 1986. http://www.theses.fr/1986PA040009.
The purpose of this study is to describe the debates concerning ciceronianism in the second half of the sixteenth century and the first quarter of the seventeenth century : is ciceronian eloquence entirely adapted to gnoseologic, ethic and esthetic requirements of the modern persuasion ? This problem (analyzed in the scholarly treatises of the period, generally written in Latin) may be summed up as the opposition between a sophistic or asianist eloquence and an inspired one, actualized by the opposition of Cicero and Seneca, and stylistically expressed by the antithesis of copia and brevitas. This debate, imbued with the erasmian appeal to a truthful eloquence, pervades all the compartments of "literature", understood at that time as the alliance of wisdom with convincing speech, but it finds a privileged utterance in the pulpit oratory one of the most fertile and representative fields of investigation in this period. The history of rhetoric from 1555 to 1620, admits of three phases, strictly united : a) the isocratic nature of the movement is first reformed by the ciceronians themselves, particularly Paulus Manutius, who subordinate the principle of concinnitas to the requirement of density and concentration formulated in the Pseudo-Longinus treatise on the sublime ; b) the ciceronian ideal of suave breadth is refused by the followers of Seneca, and their leader Justus Lipsius, who propose an ideal of intensity and laconism ; c) the Jesuit rhetors try to conciliate in the principle of concinnitas the two tendencies to suavity and intensity
Caron, Marie-Dauphine. "Le mythe à l’épreuve de la rhétorique et de la poétique dans les tragédies de Sénèque : tribune philosophique ou parole universelle ?" Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040235.
By a displacement of tragic action in familia he psychologises, Seneque internalizes theory of passions end maintains liberating benefits of the intellection as much on a political point of view as on social and ontological ones. Through the respect of pietas and fides, the intellection guarantees social equity and protects the city from the tyrant. By the right assent and time control, it protects the hero from the furor and the tragic feeling of his painful condition. It confines the hero inside furor borders and so diverts him from infringement by which the furious believes to be free from events and leads him to find happiness through a morality of efforts and deliberate support of his destiny. These stoicienne values are brought by an aesthetic pleasing of the sublime and emotion. Based on pictures and texts, between evocative speech and epic realism, it creates “the delicious horror”, bringing the spectator towards an cathartical analogy. The theatricalisation of myth, allegory of terrifying conflicts of mankind against himself or cosmos, is universal speech
Nikiforaki, Despoina. "Eschyle, Sénèque, D. -G. Gabily : études sur l'émergence de la théâtralité." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0113.
Our tripartite research aims to demonstrate the continuity between ancient and contemporary theatre in terms of theatricality. Firstly, we focused on Greek and Latin tragedies based on Agamemnon's theme (Aeschylus' Agamemnon and Eumenides, Seneca's Thyestes and Agamemnon) and secondly, we pursued our study on the plays of the French author D. -G. Gabily. We examined how a spectacular form emerges from the written text in all three cases. As a matter of fact, we came to the conclusion that the characters' discourse modifies the dramatic situation 10 which it refers, as it adds a visual dimension to the scenic actions. The results of our analysis contribute to understand that the spoken word in theatre means more than it suggests: the characters' discourse animates a fictional world that is superimposed on the one represented on stage
Cassan, Melania. "Sull'anima : la prospettiva dello stoico Seneca." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H201.
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
Gauvrit, Olivier. "La polyphonie métrique dans la poésie lyrique latine : Catulle, Horace, Sénèque le tragique. Poétiques en variation." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040137.
The aim of this work is to study the evolution of lyric verse in Rome, from the first century B.C. to the first A.D., through the writings of three poets : Catullus (complete works), Horace (Odes, Carmen Saeculare and Epodes) and Seneca (non anapaestic choruses in his tragedies). This polymetric corpus gives us the opportunity to study how a metre adapts to a specific genre or tonality. We conducted statistical studies on the variations of the metrical scheme, the frequency of elisions, the use of caesurae, the word length and the link between ictus and accent, so as to show how the verse is more and more regular from the poems of Catullus to Horace, and from Horace to Seneca. We also propose stylistic interpretations of passages in which striking phenomena appear. The work is divided into three parts, dealing respectively with aeolic, dactylic and iambic verse. The results reveal that regularization of the verse is obtained by the decreasing use of elisions, words with an atypical scheme or original caesurae. They also highlight the importance of hellenisms in the stylistic particularities observed and the possibility for Catullus and Horace to use a lyrical metre through parody to compose a satirical poem. Finally, the way Seneca uses Horatian metres to create rich choral poetry demonstrates his tragedies are not mere illustrations of stoician ideas but are undoubtedly devised for the stage
Michelon, Francesca. "Errat hic aliquis dolus. Tromperie et dissimulation dans les tragédies de Sénèque." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040043.
This study is dedicated to the analysis of deception and pretence in Seneca’s tragic corpus.The first section is dedicated to the terminology of deception and to its morphology; we propose an analysis of the vocabularies used by the various dramatists together with a study focused on the structure of deceptive moments, to isolate characters, scenic landscapes, organization and modalities. We started from the texts of Ennius, Pacuvius and Accius, in order to find references to the themes of deception and pretence. We moved to the analysis of Seneca’s tragedies to highlight both the lexical choices of the author and the features used to build up the fraudulent actions; on these themes, the study goes on with a classification of the terminology, of the characters and of the dramatic loci. The second section of the thesis is focused on the dramatic scenography, the regnum and the natural environment. In the first case, we aim at investigating the relationship between dissimulation and power, which is really important also in Seneca’s Dialogi et Epistulae, Also focusing on the natural environment, centre of Phaedra and Thyestes, we can notice the close link between the characters, their stories and the place they use
Fathallah, Naoufel. "La Phèdre de Sénèque : approche dramaturgique et philosophique." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC031.
Phaedra of Seneca : dramaturgical and philosophical approach. This defined subject is divided into three important parties : First, we will analyze the near and the distant genesis of the myth of Phaedra. Then, it will be suitable to put in light the dramaturgical art of Seneca ; finally, it’s through the confrontation of two antithetical visions of the world (the epicurean speech is expressed by the nurse and the stoic vision of the universe incarnated in the Hippolytus persona) and also by the insistence of the dialectic of passions that animate every one of the protagonists that we can even draw the foundations of the philosophical ideas that has been proposed to us by Seneca in Phaedra
Alladakan, Koffi. "La question de l'éducation chez Sénèque. Pour une contribution à la culture de la paix en Afrique." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3028.
In order to make everyone happy, the Portico elaborated a philosophy aiming at training in virtue. Like the socratism, the Portico alleged that virtue is sufficient to ensure happiness. Seneca, one of the imperial Rome’s great stoic philosophers, reduced all philosophy to soul’s education. In his arguments, after having shown that all erudition is vain when man does not take himself serious ethically, said, like his predecessors, that the quest of happiness lies in virtue, "an educated and instructed soul, which perpetual exercises lead to the summit of perfection." Therefore, it is a matter of acquiring wisdom from the realization of oneself so as to be able to be at the service of others. In short, social progress must necessarily accompany individual progress; and it is precisely in this perspective that the Latin philosopher defined wisdom as "the teacher of souls, who has not produced weapons, fortification and all that serves for war but advocates for peace and calls the human race to harmony." It is here that lies education to virtue, providing tranquillity of the soul, as the necessary and sufficient condition for peace-building, in relation to the foundation of education for peace as Unesco posits: "because wars start in people’s mind, it is in their minds that should be erected defences of peace." Peace conditioned by human solidarity and universal brotherhood as well as the ecological policy that stoic principles guaranteed including unity and world order, universal sympathy, virtue as moderation, and the oikeiosis’ principle. Such brings to light how the stoicism of Seneca is more than ever relevant and could serve as a source of inspiration for the contemporary world in general and Africa in particular whose traditional values are in the process of disappearing through the influence of Western culture, which, however, is compatible with the values of the stoicism’s humanist philosophy
Mignacca, Oriana. "Fugienda petimus : la Phaedra di Seneca come sistema complesso di antitesi." Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30063/document.
Seneca's Phaedra as a complex system of antithesis
La Phaedra di Seneca all'incrocio di tradizioni antitetiche : antitesi spaziali, "naturam sequere" e vita contro natura, conflitto parentale, parola e silenzio
Courtil, Jean-Christophe. "Sapientia contemptrix doloris : le corps souffrant dans l'œuvre philosophique de Sénèque." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20103.
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
Hasic, Anida. "La tensione tra interiore ed esteriore. Studio attorno all'idea di securitas in Seneca." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040079.
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
Hasic, Anida. "La tensione tra interiore ed esteriore. Studio attorno all'idea di securitas in Seneca." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3427135.
La presente ricerca ricostruisce dal punto di vista storico-filosofico e concettuale il valore della nozione di securitas in Seneca con l'obiettivo di mostrare la centralità del concetto e l'organicità del suo svolgimento nell'ambito della riflessione filosofica del pensatore Romano. Vengono pertanto esaminate le dimensioni interiore ed esteriore della nozione nella loro relazione di reciproca implicazione: da un lato la securitas viene studiata con riferimento alla dimensione psicologica interiore del soggetto nel contesto del progresso morale, dall'altro, se ne prendono in considerazione gli effetti quanto alla dimensione dei rapporti sociali nel contesto imperiale. La nozione di securitas è analizzata anche con riferimento allo statuto epistemologico delle Naturales Quaestiones per indagare il rapporto che l'uomo intrattiene col mondo dei fenomeni naturali attraverso la scienza. Si è inoltre esaminato il concetto all'interno della relazione tra opera filosofica e opera tragica (in particolare l'Oedipus), suggerendo la presenza degli assunti etici della securitas a livello poetico nel loro senso rovesciato e determinanti perciò una poetica dell'incertezza. Contrariamente all'interpretazione più ricorrente secondo cui la riflessione etica senecana sarebbe focalizzata sul ripiego su se stessi, la ricerca mostra come gli aspetti etici che si concentrano sulla dimensione interiore, siano in realtà finalizzati alla sfera esteriore. La relazione tensiva col mondo, che emerge dallo studio della nozione di securitas, risente anche del rapporto di Seneca alla tradizione filosofica precedente e ha permesso di chiarire la sua posizione rispetto alla tradizione stoica cui appartiene, nonché rispetto alle influenze filosofiche (Lucrezio, Cicerone, Celso) e ideologiche (Velleio Patercolo) cui è permeabile.
Popelková, Eva. "Les tragédies de Sénèque et leur réception dans le théâtre jésuite scolaire de la province tchèque aux XVIIe et XVIIIe siècles (1623–1773)." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP033.
The study of the reception of Seneca’s tragedies in the Jesuit School theatre in the Bohemian province is focused on three aspects: the description of the mechanism and the expression of passions; the pedagogical issue linked to the figure of a tyrant, with an emphasis on female characters; and the image of pagan gods. The research is based on a comparison of Senecan tragedies and school plays from the Society of Jesus. The corpus consists of three parts: the printed plays of Carolus Kolczawa; the plays of Arnoldus Engel, both staged and intended for publication; and the plays devoted to John of Nepomuk, the emblematic saint of the Czech baroque period, which were not to be published. The analyses are preceded by an overview of the Senecan reception in the Early Modern Europe, the presentation of the Jesuit context and the studied corpus
Studie recepce Senekových tragédií ve školském jezuitském divadle české provincie se zaměřuje na tři aspekty: popis fungování a zobrazení vášní; pedagogický aspekt spojený s postavou tyrana, se zřetelem k ženským postavám; a obraz antických bohů. Výzkum je založen na srovnání textů Senekových tragédií a jezuitských školských her. Korpus tvoří tři části: tištěné hry Karla Kolčavy; hry Arnolda Engela, které byly inscenovány, a zároveň autor usiloval o jejich vydání tiskem; hry spojené s emblematickou postavou českého baroka, svatým Janem Nepomuckým, které neměly jiné ambice než školní představení. Studii samotné předchází přehled bádání o senekovské recepci v raně novověké Evropě, úvod do problematiky jezuitského divadla a představení zkoumaného korpusu
Merckel, Cécile. "Seneca theologus : la religion d'un philosophe romain." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00796579.
Mignacca, Oriana. "Fugienda petimus": la "Phaedra" di Seneca come sistema complesso di antitesi"." Doctoral thesis, Università degli studi di Trento, 2012. https://hdl.handle.net/11572/368452.
Maruotti, Amaranta. "La diàtriba cinico-stoica : uno strumento concettuale o un mitofilologico? : analisi del dialogismo diatribico e del ruolo dello interlocutore fittizio nella filosofia romana." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040143.
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
Maruotti, Amaranta. "La diàtriba cinico-stoica: uno strumento concettuale o un mito filologico? Analisi del dialogismo diatribico e del ruolo dell' interlocutore fittizio nella filosofia romana." Doctoral thesis, Università degli studi di Trento, 2016. https://hdl.handle.net/11572/368432.
Babey, Emmanuel. "Penser par exemple." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040140.
In the De constancia sapientis, Seneca portrays a wise man as unaffected by injustice and outrage. For Robert Holkot (O.P., †1349), writing in his Commentary on the Book of Wisdom, this conceptual description defines the notion of wisdom present in the Biblical book of the same name. Thus, in the years 1336-1338, the Stoic wise man appears in a work of Biblical exegesis as the very example of wisdom. This thesis takes as its point of departure the portrayal of the wise man in the prologue to the Commentary on the Book of Wisdom. It then analyses what is at stake: the assertion of a Christian model of life inspired by role models from ancient philosophy. Plato becomes a figure of crucial importance. Finally, the last part of this work consists in a criticism of philosophy as a model way of life. In fact, both the ancient and medieval use of exempla and the definition of philosophy as way of life depend on a conception of moral action as the imitation of a hero (saint, wise person, and so on), a conception dismissed by Immanuel Kant