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Em nossa dissertação, estudamos o manual retórico de Sulpício Vítor, Institutiones Oratoriae. Nossa pesquisa é dividida em quatro partes. Na primeira, comentamos a bibliografia especializada que nos antecede, abordando questões importantes, como datação, ocorrência de alguns elementos retóricos e semelhança com outros manuais. Na segunda, comparamos os exemplos fornecidos por nosso autor com exercícios declamatórios, sobretudo os de Sêneca pai, mas também os de Calpúrnio Flaco e de Pseudo-Quintiliano. Na terceira, analisamos e explicamos a teoria dos estados de causa de Sulpício Vítor, comparando, sempre que possível, suas lições com as de outros textos. Na última, apresentamos uma tradução anotada para o português. / In our dissertation, we study Sulpitius Victors rhetoric handbook, Institutiones Oratoriae. Our research is divided into four parts. The first consists of a commentary to the specialized bibliography that precedes us, addressing important issues, such as dating, occurrence of some rhetorical elements and similarities with other handbooks. The second aims to compare examples given by our author with declamation exercises, especially those ones of Seneca the Elder, but also the ones of Calpurnius Flaccus and of Ps. Quintilian. The third is dedicated to the analysis and elucidation of Sulpitius Victors issue-theory, as we compare, whenever possible, his lessons with the ones of other texts. The last includes an annotated Portuguese translation.

Em nossa dissertação, estudamos o manual retórico de Sulpício Vítor, Institutiones Oratoriae. Nossa pesquisa é dividida em quatro partes. Na primeira, comentamos a bibliografia especializada que nos antecede, abordando questões importantes, como datação, ocorrência de alguns elementos retóricos e semelhança com outros manuais. Na segunda, comparamos os exemplos fornecidos por nosso autor com exercícios declamatórios, sobretudo os de Sêneca pai, mas também os de Calpúrnio Flaco e de Pseudo-Quintiliano. Na terceira, analisamos e explicamos a teoria dos estados de causa de Sulpício Vítor, comparando, sempre que possível, suas lições com as de outros textos. Na última, apresentamos uma tradução anotada para o português. / In our dissertation, we study Sulpitius Victors rhetoric handbook, Institutiones Oratoriae. Our research is divided into four parts. The first consists of a commentary to the specialized bibliography that precedes us, addressing important issues, such as dating, occurrence of some rhetorical elements and similarities with other handbooks. The second aims to compare examples given by our author with declamation exercises, especially those ones of Seneca the Elder, but also the ones of Calpurnius Flaccus and of Ps. Quintilian. The third is dedicated to the analysis and elucidation of Sulpitius Victors issue-theory, as we compare, whenever possible, his lessons with the ones of other texts. The last includes an annotated Portuguese translation.

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Seneca's Tragedies and their Reception in the Jesuit School Theatre of the Bohemian Province in the 17th and 18th Centuries (1623-1773) Eva Popelková Abstract 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. Keywords Seneca, reception, Jesuit theatre, School theatre, Neo-Latin literature, Bohemian province, 17th century, 18th century

In dieser Dissertation schlage ich eine neue Erklärung dafür vor, warum es in der antiken Philosophie eine tiefe Meinungsverschiedenheit in Bezug auf das menschliche Gute gab. Die Erklärung lautet, dass verschiedene Autoren verschiedene Auffassungen über die Kontexte und die Ziele von Argumenten über das menschliche Gute vertraten. Daraus ergab sich, dass sie nicht dieselben Argumente als gültig anerkannten und daher verschiedene Theorien über das Gute als plausibel erachteten. Die Texte, mit denen sich in erster Reihe beschäftigt wird, sind: Platons Gorgias und Philebos; Aristoteles’ Topik und Nikomachische Ethik, Senecas Epistulae Morales 82, 83, 87 und 120; Epikurs Brief an Menoikeus, Lukrez’ De Rerum Natura, Sextus’ Grundzüge der pyrrhonischen Skepsis. / In this dissertation, I suggest a new explanation for disagreement about the human good (I.e what makes a human life good) in ancient philosophy: namely, that differing understandings of argumentation contexts and goals shaped selection of argument schemes, which in turn influenced which theories of the good seemed plausible. The texts I primarily deal with are connections between Plato’s Gorgias and the Philebus, Aristotle’s Topics and the Nicomachean Ethics, Seneca’s EM 82, 83, 87 and 120, Epicurus’ Letter to Menoeceus and Lucretius’ De Rerum Natura, and Sextus’ Outlines of Skepticism.

Made available in DSpace on 2016-04-27T17:27:13Z (GMT). No. of bitstreams: 1 Mariana Goron Tasca.pdf: 684042 bytes, checksum: 7b934d7ee86ea976ec1ad04c2014b226 (MD5) Previous issue date: 2016-03-11 / 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

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Pierre Corneille (1606-1684) gehört neben Racine (1639-1699) und Molière (1622-1673) zu den drei großen Autoren des klassischen französischen Theaters. Seine erste Tragödie "Médée" wurde von Publikum und Kritikern zurückgewiesen. Corneille hatte seinen typischen Stil noch nicht entwickelt: Das Drama oszilliert zwischen Komödie und Tragödie, ist einerseits dem Handlungstheater des Barock verpflichtet und wahrt andererseits die Einheiten der "doctrine classique". Der französische Dramatiker rezipiert in seinem Stück den griechischen Tragiker Euripides (480-406 v. Chr.) und den römischen Autor Seneca (1-65 n. Chr.). Gerade den Stil Senecas ahmt er nach. Dieses Buch soll einen Beitrag zum besseren Verständnis der französischen Klassik leisten: Zwar spielt die direkte Rezeption der senecanischen Tragödie eine wichtige Rolle für das klassische französische Drama, doch Form und dramatische Technik resultierten vor allem aus der Beschäftigung mit antiken Poetiken. / Besides Racine (1639-1699) and Molière (1622-1673), Pierre Corneille (1606-1684) is one of the three greatest authors of classical French theatre. His first tragedy Médée was rejected by critics and the audience. Corneille had not developed his typical style yet: The drama oscillates between comedy and tragedy; on the one hand, it is rich in action like baroque plays and on the other hand, it sticks to the formal unities established by the doctrine classique. In Médée, the French playwright adopts ideas from the Greek tragedian Euripides (480-406 B.C.) and the Roman author Seneca (1-65 A.D.). It is Seneca’s style that he imitates in particular. This book would like to contribute to a better understanding of classical French literature: The direct reception of Seneca’s tragedies really plays an important role for the classical French drama, its form and its dramatic technique, however, are mostly the result the of an intense reading of ancient poetics.

Habilitationsschrift--Tübingen, 1971. / Includes bibliographical references (p. [135]-139).