Rhetoric and Tragedy

Author(s):  
Paul Woodruff
Keyword(s):  
Turn On ◽  

All three of the great poets of ancient Greek tragedy wrote for an audience that enjoyed displays of rhetoric. Many scenes turn on attempts at persuasion, which may be couched in set speeches or in stichomythia (line-on-line dialogue). Frequently, set speeches are paired in a formal agōn (contest) and use arguments from eikos (what is likely). Set speeches often begin with artful attempts to deny that the speaker knows the art of persuasive speaking. In addition to displaying the use of rhetoric, tragic plots often reflect on the power of rhetoric for deception. The type of the deceptive orator in tragic plays is usually represented by Odysseus, who plays the role of deceiver most prominently in Sophocles’s Neoptolemus.

2008 ◽  
Vol 2 (2-3) ◽  
pp. 190-208
Author(s):  
Cordell M. Waldron

Does the central role of the Iliad and the Odyssey in ancient Greek culture indicate that they functioned as scripture? Taking the role of the Tanakh in Jewish culture as the standard of comparison, this essay argues that, while the Tanakh and the epics functioned similarly as foundational texts in their respective cultures, the ways in which Homer was used in Hellenic culture differ markedly from the ways in which the Tanakh was used in ancient Jewish culture. The Homeric epics were primarily thought of as orally delivered or performed events throughout most of their history, only coming to be thought of as primarily written texts in the Hellenistic era and later, whereas almost from its origins the Tanakh commands and exemplifies a textcentered community in which that which is written is most important.


2019 ◽  
Vol 1 (2) ◽  
pp. 131-144
Author(s):  
Dini Maulana Lestari ◽  
M Roif Muntaha ◽  
Immawan Azhar BA

Islamic banks are present in the community as financial institutions whose activities are based on the principles of Islamic law for the benefit of the people. This study aims to determine the strategic role of Islamic Banks as financial service institutions, the importance of the existence of Islamic Banks and Islamic-based markets and financial instruments in them. In its development, Islamic banks have a role as institutions that turn on public funds, channel funds to the public, transfer assets, liquidity, reallocation of income and transactions. In the Indonesian economic system, the existence of Islamic Banks is important as an alternative solution to the problem of conflict between bank interest and usury. Islamic financial markets and instruments provide a free society of interest and follow a different set of principles. Distribution of profit/ loss according to evidence of participation in the management fund. The division of rental income in the form of musharaka.


Author(s):  
Marian H. Feldman

The “Orientalizing period” represents a scholarly designation used to describe the eighth and seventh centuries bce when regions in Greece, Italy, and farther west witnessed a flourishing of arts and cultures attributed to contact with cultural areas to the east—in particular that of the Phoenicians. This chapter surveys Orientalizing as an intellectual and historiographic concept and reconsiders the role of purportedly Phoenician arts within the existing scholarly narratives. The Orientalizing period should be understood as a construct of nineteenth- and twentieth-century scholarship that was structured around a false dichotomy between the Orient (the East) and the West. The designation “Phoenician” has a similarly complex historiographic past rooted in ancient Greek stereotyping that has profoundly shaped modern scholarly interpretations. This chapter argues that the luxury arts most often credited as agents of Orientalization—most prominent among them being carved ivories, decorated metal bowls, and engraved tridacna shells—cannot be exclusively associated with a Phoenician cultural origin, thus calling into question the primacy of the Phoenicians in Orientalizing processes. Each of these types of objects appears to have a much broader production sphere than is indicated by the attribute as Phoenician. In addition, the notion of unidirectional influences flowing from east to west is challenged, and instead concepts of connectivity and networking are proposed as more useful frameworks for approaching the problem of cultural relations during the early part of the first millennium bce.


Languages ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 74
Author(s):  
Cristina Guardiano ◽  
Melita Stavrou

In this paper, we investigate patterns of persistence and change affecting the syntax of nominal structures in Italiot Greek in comparison to Modern (and Ancient) Greek, and we explore the role of Southern Italo-Romance as a potential source of interference. Our aim is to highlight the dynamics that favor syntactic contact in this domain: we provide an overview of the social context where these dynamics have taken place and of the linguistic structures involved.


2005 ◽  
Vol 46 (1) ◽  
pp. 167-168
Author(s):  
Edmund P. Cueva

Marianne McDonald's book provides a solid introduction to ancient tragedy and theatre. The author examines the works by the three major ancient Greek tragedians, Aeschylus, Sophocles, and Euripides, and supplies for each playwright biographies, synopses of their works, and modern and ancient translations and adaptations of their plays. The listing of the translations and adaptations is selective and spans from the classical period up to the twentieth century.


2011 ◽  
Vol 23 (9) ◽  
pp. 2447-2467 ◽  
Author(s):  
Sara Bögels ◽  
Herbert Schriefers ◽  
Wietske Vonk ◽  
Dorothee J. Chwilla

The present study addresses the question whether accentuation and prosodic phrasing can have a similar function, namely, to group words in a sentence together. Participants listened to locally ambiguous sentences containing object- and subject-control verbs while ERPs were measured. In Experiment 1, these sentences contained a prosodic break, which can create a certain syntactic grouping of words, or no prosodic break. At the disambiguation, an N400 effect occurred when the disambiguation was in conflict with the syntactic grouping created by the break. We found a similar N400 effect without the break, indicating that the break did not strengthen an already existing preference. This pattern held for both object- and subject-control items. In Experiment 2, the same sentences contained a break and a pitch accent on the noun following the break. We argue that the pitch accent indicates a broad focus covering two words [see Gussenhoven, C. On the limits of focus projection in English. In P. Bosch & R. van der Sandt (Eds.), Focus: Linguistic, cognitive, and computational perspectives. Cambridge: University Press, 1999], thus grouping these words together. For object-control items, this was semantically possible, which led to a “good-enough” interpretation of the sentence. Therefore, both sentences were interpreted equally well and the N400 effect found in Experiment 1 was absent. In contrast, for subject-control items, a corresponding grouping of the words was impossible, both semantically and syntactically, leading to processing difficulty in the form of an N400 effect and a late positivity. In conclusion, accentuation can group words together on the level of information structure, leading to either a semantically “good-enough” interpretation or a processing problem when such a semantic interpretation is not possible.


Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 83-95
Author(s):  
Raz Greenberg

Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.


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