Relevant bibliographies by topics / Seneca Elder

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Seneca Elder'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Seneca Elder"

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McGill, Scott. "Seneca the Elder on Plagiarizing Cicero's Verrines." Rhetorica 23, no. 4 (2005): 337–46. http://dx.doi.org/10.1525/rh.2005.23.4.337.

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Abstract In a comment on the age in which he was writing, Seneca the Elder states inSuas. 2.19 that anyone can plagiarize Cicero's Verrines with impunity. Critics have taken Seneca's assertion as a sign of diminished familiarity with the In Verrem and of Cicero's diminished popularity. This article offers a different interpretation. Seneca assails the inattentiveness of contemporary audiences as they listen to declamations in the rhetorical schools, not their ignorance of theVerrines or aversion to Cicero. Seneca incorporates the In Verrem into that critique due to its emblematic length in order to satirize the audiences' carelessness. The use of theVerrines as a symbol relies for its effect on the easy identification of the text and its size, and consequently points to the fame of that title and its length, as well as of its author Cicero, in the 30s CE.
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Trinacty, Christopher V. "RETROSPECTIVE READING IN SENECAN TRAGEDY." Ramus 46, no. 1-2 (December 2017): 175–96. http://dx.doi.org/10.1017/rmu.2017.9.

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Conclusions matter in Senecan prose and poetry. At the conclusion of his epistles, Seneca often includes an unexpected quote or alters his subject-matter in a surprising manner—a technique that Fowler has helpfully classified as an example of ‘Romantic Irony’ in the vein of Heine or selected Horatian odes. His dialogues display a similar penchant for such endings, e.g. the post-mortem speech of Cremutius Cordus to his daughter, Marcia, in the finale of the Consolatio ad Marciam (Dial. 6.26.2-7). Seneca's tragedies likewise conclude in a beguiling fashion, ‘Part of the dramatic force of the Senecan ending is its avoidance of any note of easy resolution; it serves rather to sharpen and/or problematize the central issues of the particular play.’ As a way to further encourage the reader to question or recognize major themes of the play, Seneca's conclusions feature an intertext that casts these themes in a different light or elicits metapoetic commentary. These intertexts stress ideas and language important to the particular play, especially those found in the prologue, in order to create a type of ring-composition to the tragedy as a whole. This paper investigates these intertexts and indicates not only how they operate on an inter/intratextual level, but also why Seneca would think of the texts that he does at the conclusion of his tragedies. Seneca looks back to some of his major literary influences at the conclusions of his plays (Ovid, Horace, and Virgil unsurprisingly; Seneca the Elder perhaps more surprisingly), which reveals that these moments are diagnostic of his intertextual method in general. The larger situational or generic context of the sources shade the words uttered by Senecan protagonists, but Seneca stresses the tragic impact of such intertextual echoes again and again; Seneca tragicus surely is a pessimistic reader of the Augustan tradition. The reiteration of similar language and imagery throughout the play ‘primes’ the reader to recognize the intertext at the play's conclusion—thus intratextual repetitions signpost the intertextual reference. Seneca wants these references to be noticed; he promotes a retrospective reading technique in which these intertexts recast language and themes found earlier in the play, now vis-à-vis the literary and rhetorical source material. In creating such dense verbal connections, he encourages further contemplation of the major motifs of the tragedies and inherently endorses the position of his plays as ‘open’ texts that beg for further supplementation by further reading and rereading, again and again.
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Bennett, Beth S. "Spanish Declaimers in the Elder Seneca." Advances in the History of Rhetoric 10, no. 1 (January 2007): 1–17. http://dx.doi.org/10.1080/15362426.2007.10557273.

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Ramsey, John T. "The Elder Seneca, Controversiae 2.1.1: sub domino sectore." Classical Quarterly 54, no. 1 (May 2004): 307–10. http://dx.doi.org/10.1093/cq/54.1.307.

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Echavarren, Arturo. "THE EMERGENCE OF A NOVEL ONOMASTIC PATTERN: COGNOMEN + NOMEN IN SENECA THE ELDER." Classical Quarterly 63, no. 1 (April 24, 2013): 353–60. http://dx.doi.org/10.1017/s0009838812000638.

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The formula cognomen + nomen, as portrayed in Latronis enim Porcii (Sen. Controv. 1 praef. 13), the first double-name reference without praenomen in Seneca the Elder's work (henceforth referred to simply as Seneca), emerged as a result of the radical changes which the Roman onomastic system began to experience at the end of the Republic. On account of a wide variety of factors, both social and linguistic, the cognomen seized the role of diacritic name and individual signifier, having ousted praenomen from its ancient throne; the relatively limited number of praenomina in common use contributed substantially to their waning. The formulae of two constituents visibly reflected the progressive decline of praenomina; during the Early Principate double names still represented the usual formal means of reference (tria nomina being highly formal, mostly occurring in official contexts), but it mostly consisted of nomen + cognomen rather than praenomen + nomen or praenomen + cognomen. The formula nomen + cognomen, which developed once personal cognomina began to spread among the lesser classes, was primarily crafted for addressing men of ambiguous status, peregrini and freedmen. Thus, Cicero tends to avoid its use in naming members of the nobility, whom he refers to with a clear preference for the older, lustrous conjunction praenomen + cognomen.
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Pernot, Laurent. "“Figured Speech” in Seneca the Elder: A Glimpse of Ovid’s Rhetorical Education." Arethusa 53, no. 3 (2020): 225–37. http://dx.doi.org/10.1353/are.2020.0008.

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Leigh, Matthew. "Seneca the Elder, the Controuersia Figurata, and the Political Discourse of the Early Empire." Classical Antiquity 40, no. 1 (April 1, 2021): 118–50. http://dx.doi.org/10.1525/ca.2021.40.1.118.

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This paper studies examples of how exponents of Roman declamation could insert into arguments on the trivial, even fantastic, cases known as controuersiae statements of striking relevance to the political culture of the triumviral and early imperial period. This is particularly apparent in the Controuersiae of Seneca the Elder but some traces remain in the Minor Declamations attributed to Quintilian. The boundaries separating Rome itself from the declamatory city referred to by modern scholars as Sophistopolis are significantly blurred even in those instances where the exercise does not turn on a specific event from Roman history, and there is much to be gained from how the declaimers deploy Roman historical examples. Some of the most sophisticated instances of mediated political comment exploit the employment of universalizing sententiae, which have considerable bite when they are related to contemporary Roman discourse and experience. The declamation schools are a forum for thinking through the implications of the transformation of the Roman state and deserve a place within any history of Roman political thought.
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Zinsmaier, Thomas. "Zwischen Erzählung und Argumentation: colores in den pseudoquintilianischen Declamationes maiores." Rhetorica 27, no. 3 (2009): 256–73. http://dx.doi.org/10.1525/rh.2009.27.3.256.

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Abstract As a designation for specific arguments providing clever explanations or excuses in mock-forensic speeches (controversiae), the technical metaphor color is mainly known from the work of Seneca the Elder. But while the many colores he cites lack their speech context, the Major Declamations ascribed to Quintilian give a unique opportunity to study the techniques of “colouring” within the framework of entire speeches. After a reconsideration of what we know about the origin and the exact meaning of color, this article demonstrates the dual function of colores as a means both of generating arguments and of creating stories, i.e. as a device that is rhetorical as well as literary.
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Winterbottom, Michael. "The Elder Seneca - Lennart Håkanson (ed.): L. Annaeus Seneca Maior, Oratorum et Rhetorum Sententiae, Divisiones, Colores. (Bibl. Teubneriana.) Pp. xxiii + 384. Leipzig: Teubner, 1989. DM 78." Classical Review 41, no. 2 (October 1991): 338–40. http://dx.doi.org/10.1017/s0009840x00280360.

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Cohen, Sheldon G. "Famous Asthmatics: A Continuing Series – Biographies: Pliny the Elder; Al Afdal; Henri de Mondeville; Lucius Annaeus Seneca." Allergy and Asthma Proceedings 16, no. 4 (July 1, 1995): 209–17. http://dx.doi.org/10.2500/108854195778666865.

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Dissertations / Theses on the topic "Seneca Elder"

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Pustrelo, Matheus de Barros. "Estado de causa: estudo e tradução do manual de Sulpitius Victor." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-08082016-100425/.

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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.
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Costrino, Artur. "A lição dos declamadores: sêneca, o rétor, e as suasórias." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-08092011-112806/.

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Este trabalho tem como objetivos a tradução anotada e um estudo a respeito da obra Suasórias de Sêneca, o rétor. A tradução tenta seguir de modo rente o texto original, enquanto as notas procuram informar ao leitor algum acontecimento histórico ou personagens citados por Sêneca ou pelos declamadores. Já o estudo divide-se em três capítulos, o primeiro, procura detalhar algumas questões básicas sobre a declamatio, tendo ainda como subcapítulo um estudo mais aprofundado sobre as fontes desse fenômeno romano; o segundo capítulo versa sobre a forma constituinte da obra, ou seja, as sententiae, diuisiones e colores; o terceiro e último capítulo analisa de perto a relação entre suasória e prosopopeia, suas semelhas e diferenças.
This dissertation has as its aims an annotated translation and a study about the work Suasoriae of Seneca, the elder. The translation attempts to follow closely on the original text, while the notes informes the reader some historical event or characters cited by Seneca or even by the reciters. The study is divided into three chapters, the first attempts to clarify some basic questions about the declamatio, and also has, as its subchapter, a further study on the sources of this Roman phenomenon, the second chapter deals with the constituent form of the work, i.e.the sententiae, diuisiones and colores, the third and final chapter examines closely the relantionship between suasoria and prosopopeia, their resemblances and their differences.
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Johan, Borg, Mirjam Mischewski, and Mikael Wirén. "Var rädd om flisen! – En CM-modell för underleverantörer inom den trärelaterade industrin i Småland för att hantera risken för sena eller uteblivna betalningar." Thesis, Linnéuniversitetet, Institutionen för ekonomistyrning och logistik (ELO), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27296.

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Efter den finansiella krisen 2007 har allt fler företag problem med likvida medel. Detta medför att riskerna för sena eller uteblivna betalningar ökar. En av de branscher som drabbats hårdast är träindustrin. För tillfället har många större företag inom branschen blivit tvungna till konkurs. Detta har en direkt påverkan på branschens underleverantörer som sätts i en försämrad situation.   Syftet med denna uppsats är att utifrån empirin beskriva och genom valda teorier förklara hur underleverantörer inom den trärelaterade industrin hanterar risken för sen eller utebliven betalning. Slutligen skapa en Cash Management-modell för att hantera risken för sen eller utebliven betalning hos en underleverantör inom den trärelaterade träindustrin.   Vi har genom semistrukturerade kvalitativa intervjuer samlat empiri från åtta underleverantörer inom träindustrin. Vi kan se att ett ökat informationsflöde, användning av tredje part, fördelning av kundportföljen, graden av beroendeskap samt aktiv betalningsuppföljning är faktorer för att minska risken för sen eller utebliven betalning.
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Barney, Neil. "Beyond the speaker: the audience in Seneca the Elder." Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/9877.

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Seneca the Elder’s Controversiae and Suasoriae (c. 39 CE) provide a window onto declamation (fictional forensic or deliberative oratory) during the reign of the Roman emperor Augustus (27 BCE–CE 14). Although widely practiced as a form of elite education and entertainment, declamation was maligned by contemporaries as detrimental to rhetorical development. Modern scholars, such as Bloomer, Gunderson and Imber, have demonstrated how declamation acted as a medium for learning and asserting elite cultural identity. Previous scholarship, however, has focused on only the speaker in declamation. In this thesis I examine the secondary voices present during declamation: other speakers and the audience. In Chapter 1, I place Seneca the Elder and his work in context and examine how the format of his work allowed for the inclusion of voices beyond the speaker’s. In Chapter 2, I examine how declamation allowed its participants to assert a claim on Roman identity and lay out Seneca’s critical model, through which he validated or denied the identity-claims of the men in his work. In Chapter 3, I look at declamation as a multi-participant activity, examining speaker-to-speaker interactions in Seneca’s text and the way he constructs a community of shared speech, one which is tied to successful performance rather than a particular time or place, to support these interactions. In Chapter 4, I argue that Seneca uses the voice of the audience to assert and maintain the boundaries of the community and that he applies the label of scholastici (men who viewed declamation exclusively as entertainment) to audience members who fail to maintain the boundaries and, thus, rebuts the main complaint against declamation by relegating its unsuccessful participants to another genre of speech.
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Huelsenbeck, Bart. "Figures in the Shadows: Identities in Artistic Prose from the Anthology of the Elder Seneca." Diss., 2009. http://hdl.handle.net/10161/1078.

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The anthology of the elder Seneca (c. 55 BC - c. 39 AD) contains quotations from approximately 120 speakers who flourished during the early Empire. The predominant tendency in modern scholarship has been to marginalize these speakers and the practice they represent (declamation): they are regarded as a linguistic and literary monolith, and their literary productions while recognized as influential are treated as discrete from those of other, "serious" authors. The present dissertation challenges this viewpoint by focusing on the following questions: To what extent can a speaker quoted in Seneca's anthology be said to have a distinct and unique literary identity? What is the relationship of a speaker, as represented by his quotations, relative to canonical texts?

Since most of the quoted speakers are found exclusively in the anthology, the study first examines the nature of Seneca's work and, more specifically, how the quotations of the anthology are organized. It is discovered that the sequence in which excerpts appear in a quotation do not follow a consistent, meaningful pattern, such as the order in which they might have occurred in a speech. Instead, excerpts exhibit a strong lateral organization: excerpts from one speaker show a close engagement with excerpts in spatially distant quotations from other speakers. A fundamental organizing principle consists in the convergence of excerpts around a limited number of specific points for each declamatory theme.

The remainder, and bulk, of the dissertation is a close analysis of the quotations of two speakers: Arellius Fuscus and Papirius Fabianus. The distinct identities of these speakers emerge from comparisons of excerpts in their quotations with the often studiedly similar excerpts from other speakers and from passages in other texts. Fabianus' literary identity takes shape in a language designed to construct the persona of a philosopher-preacher. The identity of Fuscus resides in idiosyncratic sentence architecture, in a preference for Presentational sentences, and in methodically innovative diction. Further substantiating Fuscus' identity is evidence that he assimilated the language of authors, such as Cicero and Vergil, and established compositional patterns that became authoritative for later authors, such as Ovid, the younger Seneca, and Lucan.


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"Figures in the Shadows: Identities in Artistic Prose from the Anthology of the Elder Seneca." Diss., 2009. http://hdl.handle.net/10161/1078.

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Books on the topic "Seneca Elder"

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Other council fires were here before ours: A traditionak creation story as told by a Seneca elder. New York: Continuum, 1997.

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Hurd, Nitsch Twylah, ed. Other council fires were here before ours: A classic Native American creation story as retold by a Seneca elder, Twylah Nitsch, and her granddaughter, Jamie Sams : the Medicine Stone speaks from the past to our future. [San Francisco, CA.]: HarperSanFrancisco, 1991.

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Fairweather, Janet. Seneca the Elder (Cambridge Classical Studies). Cambridge University Press, 2009.

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Sussman, Lewis A. The Elder Seneca (Mnemosyne , Vol Suppl. 51). Brill Academic Pub, 1997.

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Scappaticcio, Maria Chiara, ed. Seneca the Elder and His Rediscovered ›Historiae ab initio bellorum civilium‹. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110688665.

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Edward, William A. Seneca the Elder: Suasoriae (Bcp Classic Latin and Greek Texts in Paperback). Duckworth Publishers, 2002.

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Huelsenbeck, Bart. Figures in the Shadows: Identities in Artistic Prose from the Anthology of the Elder Seneca. De Gruyter, Inc., 2014.

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Scappaticcio, Maria Chiara. Seneca the Elder and His Rediscovered ›Historiae Ab Initio Bellorum Civilium‹: New Perspectives on Early-Imperial Roman Historiography. de Gruyter GmbH, Walter, 2020.

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Scappaticcio, Maria Chiara. Seneca the Elder and His Rediscovered ›Historiae Ab Initio Bellorum Civilium‹: New Perspectives on Early-Imperial Roman Historiography. de Gruyter GmbH, Walter, 2020.

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Scappaticcio, Maria Chiara. Seneca the Elder and His Rediscovered ›Historiae Ab Initio Bellorum Civilium‹: New Perspectives on Early-Imperial Roman Historiography. de Gruyter GmbH, Walter, 2020.

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Book chapters on the topic "Seneca Elder"

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Pingoud, Julien, and Alessandra Rolle. "Intertextuality in Seneca the Elder." In Reading Roman Declamation, 279–306. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.003.0014.

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This chapter consists of two parts, both of which centre upon intertextuality in the Controversiae and Suasoriae and place special emphasis on Seneca’s use of allusion. Pingoud outlines the role played by Cicero, Ovid, Horace, and Lucretius on the language of Senecan declamation by examining how Seneca imitates these authors both to teach and to entertain his audience. Rolle similarly explores the ramifications of intertextuality on Seneca’s writing by investigating how Greek oratorical texts influenced Latro’s characterization (Controversiae 1.praef). She reveals that every aspect of Latro—from his voice to his physical appearance—is based on Greek ideals of the ideal declaimer, but notes the subtle ways in which Latro’s persona is deliberately and pointedly set apart from that of Demosthenes.
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Winterbottom, Michael. "Problems in the Elder Seneca." In Papers on Quintilian and Ancient Declamation, edited by Antonio Stramaglia, Francesca Romana Nocchi, and Giuseppe Russo, 16–43. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836056.003.0002.

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This paper, first published in 1974, concerns the very corrupt Latin text of Seneca the Elder. The standard edition at the time was that of H. J. Müller (1887), already rather antiquated; the text has since been re-edited and much improved by L. Håkanson (1989). The author stresses that the greatest care has to be taken in trying to interpret the words of clever declaimers, which are usually quoted without proper context. The chapter first discusses the manuscript tradition (sceptically as regards the sincerity of the Vaticanus), the way in which the Excerpta should be used, and the help that attention to prose rhythm can afford. It then proposes a long series of conjectural emendations, grouped under the headings ‘Deletions’, ‘Additions’, ‘Other Conjectures’, and ‘The Greek’. Passages are given detailed and technical discussion.
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Corbeill, Anthony. "Physical Excess as a Marker of Genre in the Elder Seneca." In Reading Roman Declamation, 115–33. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.003.0006.

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This chapter stems from the observation that physical eloquence is often relegated to lesser importance than its linguistic counterpart in Senecan declamation, especially when compared to the wealth of information we have on Cicero’s use of gesture. However, actio remains a pivotal element of Roman declamation. To draw attention to this element, this chapter outlines several types of bodily movement and vocal modulation which Seneca attributes to his declaimers in the Controversiae and Suasoriae. In so doing, it not only describes the practice and function of these actions but also explores how they build into the characteristics of Senecan declamation, which range from the use of personae and sententiae to prose rhythm and the figure of the ideal orator. The analysis ultimately explains why declaimers’ gestures, which are often dismissed as ‘excessive’ by modern readers, acted as effective tools for communication within their original context.
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"Appian, Cassius Dio and Seneca the Elder." In Seneca the Elder and His Rediscovered ›Historiae ab initio bellorum civilium‹, 329–54. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110688665-017.

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"The Lost Histories of the Elder Seneca(1972)." In Seneca the Elder and His Rediscovered ›Historiae ab initio bellorum civilium‹, 143–94. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110688665-009.

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"Seneca padre, Tacito e Germanico." In Seneca the Elder and His Rediscovered ›Historiae ab initio bellorum civilium‹, 259–76. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110688665-013.

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"Seneca vs Seneca: generazioni e stili a confronto tra oratoria, filosofia e storiografia." In Seneca the Elder and His Rediscovered ›Historiae ab initio bellorum civilium‹, 293–314. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110688665-015.

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Baraz, Yelena. "The Bitter Medicine of History." In Reading Roman Declamation, 15–36. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.003.0002.

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This chapter investigates how Seneca the Elder negotiates the generic position of declamation in his Controversiae and Suasoriae. It argues that his practice shows a perception of close generic affinity between declamation and poetry, and focuses on his attempt to force his readers into a closer engagement with historiography. In the course of critiquing declamations, Seneca not infrequently offers as extra-declamatory comparanda examples from poetry, and especially from epic. He appears to take for granted his audience’s acceptance of the models of poetic description and poetic pathos. History, by contrast, does not appear as a parallel genre in the Controversiae and is cited only in the divisio of the sixth suasoria, on whether Cicero should ask Antony to spare him. Seneca expects his audience to be distressed by the introduction of historiographical texts, but insists on an extensive engagement with historical treatments as non alienum to the subject. This juxtaposition of attitudes suggests awareness on the part of Seneca’s audience of a generic identity centred on fictionality (a crucial distinction from traditional oratory). By centring his discussion on this exemplum, moreover, Seneca uses the most temporally proximate subject, Cicero’s death, to make the strongest possible argument for the potential benefit of history to the future development of the declamatory genre.
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Winterbottom, Michael. "L. Håkanson (ed.), L. Annaeus Seneca Maior. Oratorum et rhetorum sententiae, divisiones, colores, Teubner (Leipzig, 1989)." In Papers on Quintilian and Ancient Declamation, edited by Antonio Stramaglia, Francesca Romana Nocchi, and Giuseppe Russo, 339–41. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836056.003.0033.

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This review of L. Håkanson’s Teubner edition of the Elder Seneca (1989) appeared in 1991 after the regrettably early death of the editor, to whom the reviewer pays tribute as a scholar ‘whose name deserves to stand alongside those of the most illustrious critics of Latin prose and poetic texts’. The text of the Elder Seneca is deeply corrupt, and Håkanson made innumerable conjectures on it. The reviewer naturally could not comment on them all; instead he restricted himself to discussion of a sample, Suasoria 7, a short piece in which the editor made as many as eighty-five changes to the transmitted text. The reviewer comments on the richness of the apparatus criticus, but he felt the lack of a companion commentary volume (Håkanson’s commentary on the first book of the Controversiae has now been published).
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Dinter, Martin T., and Charles Guérin. "Introduction." In Reading Roman Declamation, 1–12. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.003.0001.

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This introduction explains the nature of ‘declamation’, not only in terms of the genre’s specific attributes but also in comparison with other Latin literary forms such as epic, satire, historiography, and philosophy. It also contains chapter summaries for the volume as a whole and outlines major trends in recent scholarship on Seneca the Elder. In the process, it outlines the characteristics which differentiate Seneca’s writings on declamation from those of other Roman writers, and suggests that the role of ancient declaimers is similar to that of modern scholars: both groups are tasked with organizing, evaluating, ranking, and reinterpreting declamatory speeches.
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Conference papers on the topic "Seneca Elder"

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TEMİZ, Elmaziye. "KIBRIS TÜRKLERİNDE ATATÜRK SEVGİSİNİN SOSYOPSİKOLOJİK TEZAHÜRÜ OLARAK İSİMLER/ BABAM KEMAL, ÖĞRETMENİM MUSTAFA KEMAL." In 9. Uluslararası Atatürk Kongresi. Ankara: Atatürk Araştırma Merkezi Yayınları, 2021. http://dx.doi.org/10.51824/978-975-17-4794-5.14.

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Abstract:
Kıbrıs Türk nüfusunun atalarının, adanın 1571'de fethinin tamamlanmasının ardından, 1572 yılından itibaren Osmanlı Devleti iskân politikası ve usullerinden olan “sürgün” hükmüne dayalı olarak adaya yerleştirilenler olduğu arşiv kayıtlarında ve pek çok tarih kitabında yer almaktadır. Yerleşenler ve yerleştirilenler coğrafyayı mamur etmekle kalmayıp, Türk ananelerini, insan ilişkilerini, maddi-manevi değerlerini adeta toprağa karıp burayı vatan yapmışlardır. Yaklaşık 450 sene Osmanlı idaresinde olan Kıbrıs, pek çok sebebin etkisiyle 1878 yılında Berlin Antlaşması ile idari yönden “geçici olarak” İngiliz yönetimine bırakılmıştır. İngiltere, I. Dünya Savaşında Osmanlı Devleti ile karşıt cephelerde yer almalarını bahane edip Kıbrıs’ı Taç Koloni ilan etmiş, yani gasp etmiştir. Kıbrıs Türkleri bu durumu kabullenemeden, kısa zaman içinde savaş yenilgileri ve Anadolu’nun işgali başlamıştı. Kıbrıs Türklerinin yükü ağırdı. Hem kendi devletlerinden koparılmışlardı hem anavatanları işgal ediliyordu hem de yaşadıkları yönetim kendi milli devletlerine düşmandı. Lakin milletlerine, kültürlerine gönül bağları sağlamdı. Tüm baskılara rağmen, yolunu bulan son kale Anadolu’nun kurtuluşu için cepheye çarpışmaya, diğerleri dişlerinden artırdıkları ile Anavatan Türklüğüne yardıma koştu. Halkın gözü kulağı hep gelecek haberlerde idi. Mustafa Kemal adlı bir liderin yönetimindeki istiklâl hareketinin takipçisiydiler. Bu çalışmanın amacı Türk kültüründe isim koyma geleneğinin de etkisiyle Kıbrıs Türklerinde Atatürk sevgisini şahıs isimleri üzerinden ortaya koymaktır Resmi kayıtlarda doküman incelemesi yanında, "Kemal" ve "Mustafa Kemal" adlarını taşıyan şahıslarla da derinlemesine görüşmeler yapılıp, örnek biyografilerle çalışma desteklenmiştir. Bu çalışmaya göre önce 30 Ağustos1922’de Yunana yaşatılan hezimet ve elde edilen büyük zaferin sevinç ve coşkusuyla Kıbrıs Türkler, bir hayranlık, bir şükran ve gelecek için bir umut nişanesi olarak erkek çocuklarına Kemal, Mustafa Kemal adını vermeye başlamışlardır. Bu bağlamda verilen isimlerin Atatürk’ün 10 Kasım 1938 tarihinde vefatı üzerine duyulan derin üzüntü odaklı olarak yeniden arttığı görülmektedir. Atatürk sevgisi bağlamında Ülkü isminin de verildiği tespit edilmiştir.
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