Gregory A Staley
Biographic Data
| ID | 1057396 |
|---|---|
| NAME | Gregory A Staley |
| GIVEN NAMES | Gregory A |
| FAMILY NAME | Staley |
| SIGNATURE | STALEY G A |
| AFFILIATIONS | University of Maryland, College Park |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 1 |
Making Oedipus Roman
The Sophoclean process of self-discovery could be staged as a public and dramatic event; in imperial Rome such an act could only be private and internal. To create theater, Seneca had to transform the revelation of the truth from a verbal and dialogic form in Sophocles into a series of monstra, vivid events which search for the truth in the signs of nature, the signs of the body. For Seneca as a Stoic and as a prominent figure at Rome, truths are…
Hawthorne's Ovidian Transformations
Nathaniel Hawthorne’s last completed romance was initially titled Transformation before it was published as The Marble Faun in America. This article explores the Ovidian implications of that title, both suggested and later rejected by Hawthorne. Ovid had made transformation synonymous with the creation of art, through stories such as Pygmalion’s sculpting of a statue that he then brings to life. Hawthorne wrote his own version of that story and a…
Philip North Lockhart (1928-2011)
Philip North Lockhart (1928-2011) Gregory A. Staley Philip N. Lockhart, the Asbury J. Clark Chair of Latin Emeritus at Dickinson College where he taught for twenty-seven years, died on February 20, 2011. Professor Lockhart earned his B.A. in English from the University of Pennsylvania, his M.A. in Comparative Literature from the University of North Carolina at Chapel Hill, and his Ph.D. in Classics from Yale University. A brilliant teacher and me…
Conclusion
Seneca’s idea of tragedy included more than simply his tragedies. By linking tragedy with both his art and his death, Seneca played a role in transforming the idea of tragedy from the theory of a literary genre into a vision of experience. The Stoics regularly used tragedy as a metaphor for life, and Seneca’s use of the analogy demonstrates that tragedy was not for him the antitype of philosophy; it was the perfect vehicle for imaging lives that …
The Soul of Tragedy
The Stoics regularly turned to the words of tragic characters to elucidate psychology, for it was thought that poetry was a vivid source of evidence about the unseen soul: Tragedy was the plot of the soul, an illustration of the process of cognition that produced emotion. Seneca’s plays regularly depict characters who are angry, frightened, or even in love, for passion was the Stoic explanation for the events traditionally considered tragic, and …
Myth and the Classical Tradition
Seneca
Aeneas' First Act
Seneca. The Humanist at the Court of Nero
"The Literary Ancestry of Sophocles' "Ode to Man
Making Oedipus Roman
The Sophoclean process of self-discovery could be staged as a public and dramatic event; in imperial Rome such an act could only be private and internal. To create theater, Seneca had to transform the revelation of the truth from a verbal and dialogic form in Sophocles into a series of monstra, vivid events which search for the truth in the signs of nature, the signs of the body. For Seneca as a Stoic and as a prominent figure at Rome, truths are…
"The Literary Ancestry of Sophocles' "Ode to Man
"The Literary Ancestry of Sophocles' "Ode to Man
Seneca. The Humanist at the Court of Nero
Aeneas' First Act
Seneca
Myth and the Classical Tradition
Conclusion
Seneca’s idea of tragedy included more than simply his tragedies. By linking tragedy with both his art and his death, Seneca played a role in transforming the idea of tragedy from the theory of a literary genre into a vision of experience. The Stoics regularly used tragedy as a metaphor for life, and Seneca’s use of the analogy demonstrates that tragedy was not for him the antitype of philosophy; it was the perfect vehicle for imaging lives that …
The Soul of Tragedy
The Stoics regularly turned to the words of tragic characters to elucidate psychology, for it was thought that poetry was a vivid source of evidence about the unseen soul: Tragedy was the plot of the soul, an illustration of the process of cognition that produced emotion. Seneca’s plays regularly depict characters who are angry, frightened, or even in love, for passion was the Stoic explanation for the events traditionally considered tragic, and …
Philip North Lockhart (1928-2011)
Philip North Lockhart (1928-2011) Gregory A. Staley Philip N. Lockhart, the Asbury J. Clark Chair of Latin Emeritus at Dickinson College where he taught for twenty-seven years, died on February 20, 2011. Professor Lockhart earned his B.A. in English from the University of Pennsylvania, his M.A. in Comparative Literature from the University of North Carolina at Chapel Hill, and his Ph.D. in Classics from Yale University. A brilliant teacher and me…
Hawthorne's Ovidian Transformations
Nathaniel Hawthorne’s last completed romance was initially titled Transformation before it was published as The Marble Faun in America. This article explores the Ovidian implications of that title, both suggested and later rejected by Hawthorne. Ovid had made transformation synonymous with the creation of art, through stories such as Pygmalion’s sculpting of a statue that he then brings to life. Hawthorne wrote his own version of that story and a…
Making Oedipus Roman
The Sophoclean process of self-discovery could be staged as a public and dramatic event; in imperial Rome such an act could only be private and internal. To create theater, Seneca had to transform the revelation of the truth from a verbal and dialogic form in Sophocles into a series of monstra, vivid events which search for the truth in the signs of nature, the signs of the body. For Seneca as a Stoic and as a prominent figure at Rome, truths are…
Art (10 works) · Classical Antiquity Studies (8 works) · History (5 works) · Literature (5 works) · Philosophy (4 works) · Philosophy (3 works) · Ancient history (2 works) · Art history (2 works) · Classical Philosophy and Thought (2 works) · Cultural Studies and Interdisciplinary Research (2 works)