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Theater --- Latin drama (Tragedy) --- History --- History and criticism --- -Theater --- -Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- -Latin drama (Tragedy) --- History and criticism. --- -History and criticism --- Theater - Rome --- Theater - History - To 500 --- Latin drama (Tragedy) - History and criticism
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Until the Renaissance the centrality of Roman tragedy in Western society and culture was unchallenged. Studies on Roman Republican tragedy and on Imperial Roman tragedy by the contributors have been directing the gaze of scholarship back to Roman tragedy. This volume has two goals: first, to demonstrate that Republican tragedy had a far more central role in shaping Imperial tragedy than is currently thought, and quite possibly more important than Classical Greek tragedy. Second, the influence of other Roman literary genres on Roman tragedy is greater than has formerly been credited. Studies on von Kleist and Shelley, Eliot and Claus help reconstruct the ancient Roman stage by showing how moderns had thought to change it for contemporary aesthetics.
Classical Latin literature --- Drama --- Latin drama (Tragedy) --- Tragédie latine --- History and criticism. --- Histoire et critique --- History and criticism --- Tragédie latine --- Latin drama (Tragedy) - History and criticism
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Astyanax (Legendary character) --- Astyanax (Personnage légendaire) --- Accius, Lucius. --- Latin drama (Tragedy) --- Mythology, Greek, in literature. --- History and criticism. --- Astyanax (Personnage légendaire) --- Mythology, Greek, in literature --- History and criticism --- Accius, Lucius. Astyanax --- Latin drama (Tragedy) - History and criticism.
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Classical Latin literature --- Latin drama (Tragedy) --- Mythology, Classical --- Tragédie latine --- Mythologie ancienne --- Translations into French --- Drama --- Traductions françaises --- Théâtre
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In Brill's Companion to the Reception of Senecan Tragedy, Eric Dodson-Robinson incorporates essays by specialists working across disciplines and national literatures into a subtle narrative tracing the diverse scholarly, literary and theatrical receptions of Seneca's tragedies. The tragedies, influential throughout the Roman world well beyond Seneca's time, plunge into obscurity in Late Antiquity and nearly disappear during the Middle Ages. Profound consequences follow from the rediscovery of a dusty manuscript containing nine plays attributed to Seneca: it is seminal to both the renaissance of tragedy and the birth of Humanism. Canonical Western writers from Antiquity to the present have revisited, transformed, and eviscerated Senecan precedents to develop, in Dodson-Robinson's words, "competing tragic visions of agency and the human place in the universe.
Comparative literature --- Seneca [Younger] --- Latin drama (Tragedy) --- History and criticism --- Seneca, Lucius Annaeus, --- Appreciation --- Art appreciation --- Latin drama (Tragedy) - History and criticism --- Seneca, Lucius Annaeus, - approximately 4 B.C.-65 A.D. - Tragedies --- Seneca, Lucius Annaeus, - approximately 4 B.C.-65 A.D. - Appreciation --- Seneca, Lucius Annaeus, - approximately 4 B.C.-65 A.D. --- History and criticism. --- Appreciation.
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Latin drama (Tragedy) --- Tragédie latine --- History and criticism --- Histoire et critique --- Seneca, Lucius Annaeus, --- Greek drama (Tragedy) --- Tragédie latine --- Latin drama --- Greek drama --- Latin drama (Tragedy) - History and criticism - Congresses --- Greek drama (Tragedy) - History and criticism - Congresses --- Seneca, Lucius Annaeus, - approximately 4 BC-65 AD - Tragedies - Congresses --- Seneca, Lucius Annaeus, - approximately 4 BC-65 AD - Tragedies
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Ce volume réunit les trois tragédies, intégralement conservées, composées après l'Ecerinis d'Albertino Mussato (1315). Antonio Loschi, Gregorio Correr et Leonardo Dati partagent la même conception du tragique héritée de Sénèque (1-65). Les crimes de la Guerre Civile de Lucain (39-65) et des Tragédies de Sénèque avaient déjà inspiré Albertino Mussato. Pour bâtir sa tragédie sur la mort d’Achille (Achilles, vers 1390), Antonio Loschi continue de s’inspirer des tragédies sénéquiennes, mais il renouvelle son inspiration en multipliant les emprunts à d’autres modèles, de l’Antiquité, du Moyen Âge et du premier humanisme italien. Gregorio Correr emprunte au livre VI des Métamorphoses d’Ovide (43 av. J.-C.-18 ap. J.-C.), mais aussi à Sénèque et à Boccace (1315-1375), un nouveau modèle d’horreur tragique pour composer sa Progne en 1426-1427. Enfin Leonardo Dati, entre 1440 et 1442, reprend à la Guerre de Jugurtha de Salluste (86-34) l’épisode de l’assassinat d’Hiempsal pour composer la tragédie qui porte le nom de ce héros (Hiensal). Dans ces trois tragédies, des femmes commettent un sacrilège pire que ceux commis par des princes sanguinaires. Hécube ourdit la mort d’Achille en attirant celui-ci dans un guet-apens (dans l’Achilles d’Antonio Loschi) ; Procné immole son fils et le sert en guise de dîner à son époux, le roi de Thrace Térée, père de l’enfant (dans Progne de Gregorio Correr) ; Inuidia, allégorie de l’Envie, attise la haine entre les héritiers du royaume de Numidie pour obtenir la mort d’Hiempsal (dans Hiensal de Leonardo Dati). Richement documenté, ce volume insiste sur les renouvellements, autant dans la forme que dans l’inspiration, de la tragédie latine entre 1390 et 1442 et sur la théâtralité de pièces qui, même si elles n’étaient pas destinées à la scène, multiplient les effets dramatiques spectaculaires.
Latin drama, Medieval and modern --- Latin drama (Tragedy) --- Théâtre latin médiéval et moderne --- Tragédie latine --- Translations into French. --- Traductions françaises --- Théâtre latin médiéval et moderne --- Tragédie latine --- Traductions françaises --- Latin literature, Medieval and modern --- Latin drama (Tragedy). --- Latin drama, Medieval and modern.
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