Добірка наукової літератури з теми "Sénèque (0004 av. J.-C.-0065). Apocolocyntosis"
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Дисертації з теми "Sénèque (0004 av. J.-C.-0065). Apocolocyntosis":
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