Das Buch wendet sich an Fachleute ebenso wie Studierende und das allgemeine Publikum. Es präsentiert eine ungewöhnliche Vielfalt von Beiträgern verschiedener Generationen, Fachrichtungen und nationaler Wissenskulturen, teilweise zum ersten Mal überhaupt in Englisch. Gemeinsam betonen sie die Einheit von Senecas Oeuvre und seine Originalität als Mittler stoischen Gedankenguts in den literarischen Formen des Prinzipats.

Das Buch wendet sich an Fachleute ebenso wie Studierende und das allgemeine Publikum. Es präsentiert eine ungewöhnliche Vielfalt von Beiträgern verschiedener Generationen, Fachrichtungen und nationaler Wissenskulturen, teilweise zum ersten Mal überhaupt in Englisch. Gemeinsam betonen sie die Einheit von Senecas Oeuvre und seine Originalität als Mittler stoischen Gedankenguts in den literarischen Formen des Prinzipats.

"Today philosophy's promises to enhance the lives of those who study it are couched, like justifications for the humanistic disciplines more generally, in circumspect terms. In the ancient world, however, philosophy commonly claimed for itself the status of an exclusive guide to happiness. Through philosophy's characteristic practices of argument and rational inquiry, its advocates believed, human beings could learn what was really good for themselves and free themselves from illusion. In the process, they would necessarily come to lead happier lives. This link between learning and action meant that philosophy was often regarded as an entire way of life, in which intellectual activity and practice were closely associated and mutually interdependent. Nowhere else in ancient literature is this ideal given such full and nuanced exposition as in the prose writings of Seneca, in which we can see a philosopher and literary artist of the first rank exploring in detail the dilemmas posed by the confrontation of the idea of the philosophical life with the historical and cultural specificity of the first-century CE Rome in which he wrote. His vast prose oeuvre defends, elaborates, and aims to make appealing this ideal of a life guided by disciplined thought. He is unequivocal about the necessary centrality of philosophy to any attempt at living a good life: philosophy, he writes, "shapes and forges the mind, it puts life in order, it directs actions, it points out what is to be done and what is not to be done, it sits at the helm and steers a course through the hazards of the waves" (animum format et fabricat, vitam disponit, actiones regit, agenda et omittenda demonstrat, sedet ad gubernaculum et per ancipitia fluctuantium derigit cursum, Ep. 16.3). A successful life, for Seneca as for many other ancient philosophers, is governed by, indeed constituted by, the practice of philosophy. His rich and varied corpus, I argue, presents us with a unique opportunity to learn how one reflective and well-informed ancient philosopher reconciled this ideal of philosophical living, and all the aspirations to independence and universality that come with it, to the fact that he and his readers were living in a sociopolitical setting with its own set of norms and customs. These customs, and the claims of community more generally, stand in potential contradiction with the practical guidance philosophy aims to supply. For Seneca, as we will see, this tension was a prodigiously fruitful one. Recent work has rehabilitated Seneca's standing as a major philosopher"--

In this volume, tragedy in antiquity is examined synoptically, from its misty origins in archaic Greece, through its central position in the civic life of ancient Athens and its performances across the Greek-speaking world, to its new and very different instantiations in Republican and Imperial Roman contexts. Lively, original essays by eminent scholars trace the shifting dramatic forms, performance environments, and social meanings of tragedy as it was repeatedly reinvented. Tragedy was consistently seen as the most serious of all dramatic genres; these essays trace a sequence of different visions of what the most serious kind of dramatic story might be, and the most appropriate ways of telling those stories on stage. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual, and myth; politics of city and nation; society and family, and gender and sexuality.