The Intended Public of Demetrius's On Style: The Place of the Treatise in the Hellenistic Educational System

2000 ◽  
Vol 18 (1) ◽  
pp. 29-48 ◽  
Author(s):  
Dirk M. Schenkeveld
Keyword(s):  
Literary Criticism ◽  
Educational System ◽  
First Century ◽  
Rhetorical Education ◽  
The Public ◽  
The Third

Abstract: On Style, written by a certain Demetrius probably in the first century B.C., is an important witness to the rhetorical education of the third/second centuries B.C. It is a matter of long scholarly debate whether Demetrius intended his treatise to be a handbook of rhetoric or a work of literary criticism. Here it is argued that the public Demetrius writes his book for are pupils who have done the preliminary courses in rhetoric and have leamt to write progymnasmata. They now enter the final course on rhetoric and will compose the more difficult exercises, commonly termed declamationes.

Spider and Fly: The Leninist Philosophy of Georg Lukács

2013 ◽  
Vol 21 (2) ◽  
pp. 47-75 ◽  
Author(s):  
Paul Le Blanc
Keyword(s):  
Literary Criticism ◽  
Communist Party ◽  
Political Orientation ◽  
First Century ◽  
Popular Front ◽  
Georg Lukacs ◽  
The Third ◽  
Political Work ◽  
Revolutionary Politics ◽  
Georg Lukács

Abstract From 1919 to 1929, the great Hungarian Marxist philosopher Georg Lukács was one of the leaders of the Hungarian Communist Party, immersed not simply in theorising but also in significant practical-political work. Along with labour leader Jenö Landler, he led a faction opposing an ultra-left sectarian orientation represented by Béla Kun (at that time also associated with Comintern chairman Zinoviev, later aligning himself with Stalin). If seen in connection with this factional struggle, key works of Lukács in this period – History and Class Consciousness (1923), Lenin: A Study in the Unity of His Thought (1924), Tailism and the Dialectic (1926) and ‘The Blum Theses’ (1929) – can be seen as forming a consistent, coherent, sophisticated variant of Leninism. Influential readings of these works interpret them as being ultra-leftist or proto-Stalinist (or, in the case of ‘The Blum Theses’, an anticipation of the Popular Front perspectives adopted by the Communist International in 1935). Such readings distort the reality. Lukács’s orientation and outlook of 1923–9 are, rather, more consistent with the orientation advanced by Lenin and Trotsky in the Third and Fourth Congresses of the Communist International. After his decisive political defeat, Lukács concluded that it was necessary to renounce his distinctive political orientation, and completely abandon the terrain of practical revolutionary politics, if he hoped to remain inside the Communist movement. This he did, adapting to Stalinism and shifting his efforts to literary criticism and philosophy. But the theorisations connected to his revolutionary politics of the 1920s continue to have relevance for revolutionary activists of the twenty-first century.

Performing the Book: The Recital of Epic in First-Century C.E. Rome

2000 ◽  
Vol 19 (1) ◽  
pp. 138-179 ◽  
Author(s):  
Donka D. Markus
Keyword(s):  
Literary Criticism ◽  
Second Century ◽  
First Century ◽  
Public Image ◽  
Public Performance ◽  
Negative Effects ◽  
Public Speech ◽  
The Public ◽  
Imperial Culture ◽  
A Charge

The detrimental effect of the public recital on the quality of epic production in the first century is a stock theme both in ancient and in modern literary criticism. While previous studies on the epic recital emphasize its negative effects, or aim at its reconstruction as social reality, I focus on its conflicting representations by the ancients themselves and the lessons that we can learn from them. The voices of critics and defenders reveal anxieties about who controls the prestigious high genre of epic and about the construction of gender and social status through epic's public performance. Critics of the recitatio such as Horace, Persius, Petronius and Juvenal represent it as an informal and popular event that panders to public taste and incurs infamy. These critics charge that the epic recital has an effeminizing effect both on the recitator and on his audience, a charge traditionally advanced against orators and actors. Because the epic recital in Rome lacks a performative context similar to the rhapsodic performances in Greece, its public image mirrors that of other public performances (the theater, the public speech and the public lecture). The main point of divergence is the presence of the book, the symbol of permanent fame, which casts upon the recital the shadow of an evanescent entertainment. Defenders (Statius and Suetonius) see the recital as instrumental to the maintenance of literature's value in society. This means that well into the first century there were those who felt nostalgia for the epic recital as a bulwark of male aristocratic values and who wanted to reclaim its prestige. Both Statius as a poet, who performed regularly at Domitian's court, and Suetonius, who acted as Hadrian's ab epistulis some twenty years after Statius' death, defend the waning reputation of the contemporary epic recital in an effort to reclaim it as a prestigious component of imperial literary culture. While critics unanimously negate the recital's role in the achievement of poetic fame in favor of the book, Suetonius chooses anecdotal evidence about the early performances by grammarians grammarians that show the important role of the recital in forging poetic fame. The emperor and the members of the new aristocracy whom Statius explicitly names as the target audience of his epic recitals have a stake in reclaiming for imperial culture an institution that went back to the second century B.C.E. and carried the prestige of an aristocratic event.

Salman Rushdie’s Authorial Self-fashioning in Joseph Anton

2017 ◽  
Vol 52 (3) ◽  
pp. 519-533 ◽  
Author(s):  
Charlie Wesley
Keyword(s):  
Mass Media ◽  
First Century ◽  
Public Attention ◽  
Deep Roots ◽  
The Public ◽  
The Third ◽  
Third Person ◽  
The Media ◽  
Twenty First Century ◽  
The Third Person

This article examines some of the highlights, limitations, and contradictions of Rushdie’s authorial personas that have been perpetuated and challenged by his critics and the mass media. I argue that Joseph Anton, published in 2012, exhibits evidence of Rushdie’s attempt at authorial self-fashioning, and therefore the memoir represents an important part of his effort to shape the public narrative about him. Joseph Anton highlights Rushdie’s exilic persona through direct comparisons to figures like Voltaire and Galileo, and attempts to privilege this position above his other authorial selves. This authorial self has deep roots in a narrative fashioned by Rushdie that has been abetted by some of his critics and the media since the fatwa. My essay critiques this emphasis, suggesting that Rushdie’s self-fashioning is out of step with his twenty-first-century political ideals and affiliations. Ultimately, the third-person “distancing” of the memoir helps to highlight what it seeks to mitigate: a plurality of Rushdie’s competing for public attention.

The public educational system of Sweden

1893 ◽  
Author(s):  
N. G. W. Lagerstedt
Keyword(s):  
Educational System ◽  
The Public

Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah

2015 ◽  
Vol 32 (1) ◽  
pp. 40-77
Author(s):  
Peter Mercer-Taylor
Keyword(s):  
Second Phase ◽  
Divine Presence ◽  
Final Phase ◽  
Public And Private ◽  
The Public ◽  
The Third ◽  
Interpretive Approach ◽  
Will To Live ◽  
Three Phases

The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

Marketing Responsible Drinking Effectively to Young Adults

2014 ◽  
Vol 1 (1) ◽  
Author(s):  
Colby Doyle ◽  
Matthew Gaudet ◽  
Dominic Lay ◽  
Amber McLeod ◽  
Robert Schaeffer
Keyword(s):  
Quantitative Research ◽  
Drinking Patterns ◽  
Major Question ◽  
The Public ◽  
The Third ◽  
Current Consumption ◽  
Sample Data ◽  
Vague Quantifiers ◽  
Insight Into ◽  
Alberta Health

The primary goal of this research is to identify and examine the components of responsible drinking advertisements. We will examine industry and government related advertisements as we try to understand one of our major questions: does the source influence the validity of the message? The next group of major questions that we will be looking to answer is how are the vague quantifiers used in responsible drinking campaigns interpreted by the public?  How many drinks do people consider “too much?” What does “drink responsibly” really mean? The third major question is whether or not an individual’s current consumption patterns of alcohol have any effect on how individuals assess responsible drinking campaigns. Our qualitative research has indicated that social influences can be strongly related with drinking patterns; this will be further examined in our quantitative research. Also, we will be looking into some of the psychology behind industry and government sponsored advertisements as well as gathering and interpreting information from a sample of our target demographic. Our target demographic consists of both male and females between the ages 18-24. Our literature review and qualitative analysis gave us good insight into some of the potential answers to our questions. We will use these potential answers from our previous research to guide us as we attempt to conduct conclusive research based on a sample data of 169 individuals. Our findings will aid us in developing conclusions and recommendations for Alberta Health Services.

Case Study #4: Star Trek by Gene Roddenberry

Public Voices ◽  
2016 ◽  
Vol 13 (2) ◽  
pp. 143
Author(s):  
Ken Nichols
Keyword(s):  
Public Administration ◽  
Public Interest ◽  
World Wide ◽  
Star Trek ◽  
Government Organization ◽  
The Public ◽  
The Third ◽  
Gene Roddenberry ◽  
Common Goals

Star Trek began as a 1960s television series led by a swashbuckling starship Captain, an intellectual off-world first officer, and a multicultural, heart-of-gold crew. In the third of a century since its appearance on our home screens, the series Gene Roddenberry created has become a world-wide phenomenon.Star Trek is also a rich treasure trove of administrative literature: The setting — usually a starship, sometimes a planetary government organization. The characters are clearly delineated, colorful, share common goals, distinguish between their personal and professional roles and concerns, and serve well as archetypes for distinct organizational personalities. And the missions are clear, benevolent, in the public interest, and frequently controversial.As you watch an episode of one of the four Star Trek series, how many of these facets can you observe?That’s public administration, all right, but in a very different wrapper

THE ROLE OF ACCOUNTING IN PUBLIC EXPENDITURE AND MONETARY POLICY IN THE FIRST CENTURY AD ROMAN EMPIRE

1995 ◽  
Vol 22 (2) ◽  
pp. 117-129 ◽  
Author(s):  
David Oldroyd
Keyword(s):  
Monetary Policy ◽  
Roman Empire ◽  
Financial Planning ◽  
Public Expenditure ◽  
First Century ◽  
Financial Control ◽  
The Public ◽  
Monetary System ◽  
Epigraphic Evidence

Previous authors have argued that Roman coinage was used as an instrument of financial control rather than simply as a means for the state to make payments, without assessing the accounting implications. The article reviews the literary and epigraphic evidence of the public expenditure accounts surrounding the Roman monetary system in the first century AD. This area has been neglected by accounting historians. Although the scope of the accounts supports the proposition that they were used for financial control, the impetus for keeping those accounts originally came from the emperor's public expenditure commitments. This suggests that financial control may have been encouraged by the financial planning that arose out of the exigencies of funding public expenditure. In this way these two aspects of monetary policy can be reconciled.

Past

2018 ◽  
Author(s):  
Barbara Kellerman
Keyword(s):  
Twentieth Century ◽  
Business Schools ◽  
First Century ◽  
Recent Past ◽  
Lao Tzu ◽  
Leadership And Management ◽  
The Third ◽  
The Enlightenment ◽  
Agents Of Change ◽  
The Many

The chapter focuses on how leadership was taught in the distant and recent past. The first section is on five of the greatest leadership teachers ever—Lao-tzu, Confucius, Plato, Plutarch, and Machiavelli—who shared a deep belief in the idea that leadership could be taught and left legacies that included timeless and transcendent literary masterworks. The second section explores how leadership went from being conceived of as a practice reserved only for a select few to one that could be exercised by the many. The ideas of the Enlightenment changed our conception of leadership. Since then, the leadership literature has urged people without power and authority, that is, followers, to understand that they too could be agents of change. The third section turns to leadership and management in business. It was precisely the twentieth-century failure of business schools to make management a profession that gave rise to the twenty-first-century leadership industry.

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