Erica Bexley
Biographic Data
| ID | 3094296 |
|---|---|
| NAME | Erica Bexley |
| GIVEN NAMES | Erica |
| FAMILY NAME | Bexley |
| SIGNATURE | BEXLEY E |
| AFFILIATIONS | Cornell University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 57 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 3 |
Seneca's Characters
Seneca's Characters addresses one of the most enduring and least theorised elements of literature: fictional character and its relationship to actual, human selfhood. Where does the boundary between character and person lie? While the characters we encounter in texts are obviously not 'real' people, they still possess person-like qualities that stimulate our attention and engagement. How is this relationship formulated in contexts of theatrical p…
Double Act
Doubtful Certainties
non tam interest quo animo scribatur quam quo accipiatur -Cicero, Ad Fam 6.7.
Recognition and the Character of Seneca's Medea
This article examines the character and identity of Seneca's Medea. Focusing on the recognition scene at the end of the play, I investigate how Medea constructs herself both as a literary figure and as an implied human personality. The concluding scene of Seneca's Medea raises crucial questions about self-coherence and recognisability: in contrast to other moments of anagnōrisis in Greco-Roman drama, it confirms the pre-existing facets of Medea's…
What is Dramatic Recitation
This article examines the literary evidence for recitations of drama in first- and early second-century c.e. Rome. It begins by contextualizing the practice of recitatio , and thereafter focuses on the central question of how a solo speaker could recite a play so as to render it intelligible for his audience. Two solutions suggested by extant sources are voice and gesture; it is possible that the individuals reciting plays either altered their in…
Lucan’s Catalogues and the Landscape of War
quantas acies stragemque ciebunt aggeribus socer Alpinis atque arce Monoeci descendens, gener aduersis instructus Eois
Plautus and Terence in Performance
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first section gives an overview of the production process, discussing ancient rehearsal practices, possible performance locations, and the structural characteristics of Roman theater buildings. To complement this historical background, the chapter's second section concentrates on four individual scenes and describes various ways in which they could be st…
The Oxford Handbook of Greek and Roman Comedy
"The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its sympotic, artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. The result offers Hellenists an excellent overview of the …
The Myth of the Republic
25 who refutes the idea proposed by Bruère 1950 and Thompson 1964 that Lucan's work would have ended at Actium.Yet another view is espoused by Brisset 1964: 163 and Masters 1992: 216-59, who argue that the work is complete as we have it.This theory, clever though it is, attributes too much of a contemporary twentieth century aesthetic to Lucan, assuming a lack of closure that is simply not characteristic of early imperial Latin literature. 4 Admi…
Replacing Rome
The Oxford Handbook of Greek and Roman Comedy
"The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its sympotic, artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. The result offers Hellenists an excellent overview of the …
Recognition and the Character of Seneca's Medea
This article examines the character and identity of Seneca's Medea. Focusing on the recognition scene at the end of the play, I investigate how Medea constructs herself both as a literary figure and as an implied human personality. The concluding scene of Seneca's Medea raises crucial questions about self-coherence and recognisability: in contrast to other moments of anagnōrisis in Greco-Roman drama, it confirms the pre-existing facets of Medea's…
Replacing Rome
Replacing Rome
The Myth of the Republic
25 who refutes the idea proposed by Bruère 1950 and Thompson 1964 that Lucan's work would have ended at Actium.Yet another view is espoused by Brisset 1964: 163 and Masters 1992: 216-59, who argue that the work is complete as we have it.This theory, clever though it is, attributes too much of a contemporary twentieth century aesthetic to Lucan, assuming a lack of closure that is simply not characteristic of early imperial Latin literature. 4 Admi…
Lucan’s Catalogues and the Landscape of War
quantas acies stragemque ciebunt aggeribus socer Alpinis atque arce Monoeci descendens, gener aduersis instructus Eois
Plautus and Terence in Performance
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first section gives an overview of the production process, discussing ancient rehearsal practices, possible performance locations, and the structural characteristics of Roman theater buildings. To complement this historical background, the chapter's second section concentrates on four individual scenes and describes various ways in which they could be st…
The Oxford Handbook of Greek and Roman Comedy
"The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its sympotic, artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. The result offers Hellenists an excellent overview of the …
What is Dramatic Recitation
This article examines the literary evidence for recitations of drama in first- and early second-century c.e. Rome. It begins by contextualizing the practice of recitatio , and thereafter focuses on the central question of how a solo speaker could recite a play so as to render it intelligible for his audience. Two solutions suggested by extant sources are voice and gesture; it is possible that the individuals reciting plays either altered their in…
Doubtful Certainties
non tam interest quo animo scribatur quam quo accipiatur -Cicero, Ad Fam 6.7.
Recognition and the Character of Seneca's Medea
This article examines the character and identity of Seneca's Medea. Focusing on the recognition scene at the end of the play, I investigate how Medea constructs herself both as a literary figure and as an implied human personality. The concluding scene of Seneca's Medea raises crucial questions about self-coherence and recognisability: in contrast to other moments of anagnōrisis in Greco-Roman drama, it confirms the pre-existing facets of Medea's…
Double Act
Seneca's Characters
Seneca's Characters addresses one of the most enduring and least theorised elements of literature: fictional character and its relationship to actual, human selfhood. Where does the boundary between character and person lie? While the characters we encounter in texts are obviously not 'real' people, they still possess person-like qualities that stimulate our attention and engagement. How is this relationship formulated in contexts of theatrical p…
Classical Antiquity Studies (10 works) · Art (8 works) · History (7 works) · Literature (7 works) · Historical, Religious, and Philosophical Studies (5 works) · Philosophy (5 works) · Aesthetics (4 works) · Computer Science (4 works) · History (4 works) · Psychology (4 works)