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  1. (1 other version)The Folly of Praise: Plato's Critique of Encomiastic Discourse in the Lysis and Symposium.Andrea Wilson Nightingale - 1993 - Classical Quarterly 43 (1):112-130.
    Plato targets the encomiastic genre in three separate dialogues: theLysis, theMenexenusand theSymposium. Many studies have been devoted to Plato's handling of the funeral oration in theMenexenus. Plato's critique of the encomium in theLysisandSymposium, however, has not been accorded the same kind of treatment. Yet both of these dialogues go beyond theMenexenusin exploring the opposition between encomiastic and philosophic discourse. In theLysis, I will argue, Plato sets up encomiastic rhetoric as a foil for Socrates' dialectical method; philosophic discourse is both defined (...)
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  • (1 other version)To praise, not to bury: Simonides fr. 531P.Deborah Steiner - 1999 - Classical Quarterly 49 (2):383-395.
    Unresolved questions surround Simonides fr. 531, which eulogizes the Greeks who fell at Thermopylae. To what genre do these lines belong, what were the original conditions of their performance, and does Diodorus Siculus, who preserves the fragment, transmit just an extract or the complete piece? Commentators even differ as to where Simonides’ lines began: for some the words τŵυ ༐υ Θερμοπλαιζ θαυóυτωυ form part of the original composition, for others they conclude Diodorus' prose introduction. In my reading of the fragment, (...)
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  • Rituals in stone: early Greek grave epigrams and monuments.Joseph W. Day - 1989 - Journal of Hellenic Studies 109:16-28.
    The goal of this paper is to increase our understanding of what archaic verse epitaphs meant to contemporary readers. Section I suggests their fundamental message was praise of the deceased, expressed in forms characteristic of poetic encomium in its broad, rhetorical sense, i.e., praise poetry. In section II, the conventions of encomium in the epitaphs are compared to the iconographic conventions of funerary art. I conclude that verse inscriptions and grave markers, not only communicate the same message of praise, but (...)
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  • Family tombs and tomb cult in ancient Athens: tradition or traditionalism?Sarah C. Humphreys - 1980 - Journal of Hellenic Studies 100:96-126.
    Fustel de Coulanges' thesis that ancient society was founded upon the cult of ancestral tombs has had, for a thoroughly self-contradictory argument, a remarkably successful career. Neither Fustel himself nor the many subsequent scholars who have quoted his views with approval faced clearly the difficulty of deriving a social structure dominated by corporate descent groups from the veneration of tombs placed in individually owned landed property. On the whole, historians have tended to play down Fustel's insistence on the relation between (...)
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  • (1 other version)The Folly of Praise: Plato's Critique of Encomiastic Discourse in the Lysis and Symposium.Andrea Wilson Nightingale - 1993 - Classical Quarterly 43 (01):112-.
    Plato targets the encomiastic genre in three separate dialogues: the Lysis, the Menexenus and the Symposium. Many studies have been devoted to Plato's handling of the funeral oration in the Menexenus. Plato's critique of the encomium in the Lysis and Symposium, however, has not been accorded the same kind of treatment. Yet both of these dialogues go beyond the Menexenus in exploring the opposition between encomiastic and philosophic discourse. In the Lysis, I will argue, Plato sets up encomiastic rhetoric as (...)
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  • Bemerkungen zur Ektheosis Arsinoes des Kallimachos: Gattung, Struktur und Inhalt.Zsolt Adorjáni - 2021 - Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 165 (1):2-24.
    This article aims to present an overall interpretation of a poem by Callimachus that centres on the dead Ptolemaic queen Arsinoe II. Firstly the position of the Ektheosis Arsinoes in Callimachus’ œuvre, the genre to which it belongs and its structure will be investigated. This leads to the analysis of the highly allusive character of the work (above all to Hesiod, Ibycus, Simonides and Pindar as well as to hymnic poetry). In addition, realia (the historical background) and textual difficulties arising (...)
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  • Mousikoi Agones and the Conceptualization of Genre in Ancient Greece.Andrea Rotstein - 2012 - Classical Antiquity 31 (1):92-127.
    This article inquires into the shaping force that competition at musical contests exercised on ancient perceptions of literary genres, particularly for the non-choral and non-dramatic kinds of the Classical Period. Three musical contests of the fourth century BCE, the Panathenaia, the Amphiaraia, and the Artemisia, are taken as case studies. After a reconstruction of their programs, principles of categorization that spectators might have inferred from the contests are deduced, and modes in which categories of competition and literary genres interacted are (...)
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  • “I Let Go My Force Just Touching Her Hair”: Male Sexuality in Athenian Vase-Paintings of Silens and Iambic Poetry.G. Hedreen - 2006 - Classical Antiquity 25 (2):277-325.
    In Archaic Athenian vase-painting, silens are often sexually aroused, but only sporadically satisfy their desires in a manner acceptable to most Athenian men. François Lissarrague persuasively argued that the sexuality of silens in vase-painting was probably laughable rather than awe-inspiring. What sort of laughter did the vase-paintings elicit? Was it the scornful laughter of a person who felt nothing in common with silens, or the laughter of one made to see something of himself in their behavior? For three reasons, I (...)
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  • Musical instruments and the Paean in Archilochus.Paula Da Cunha Corrêa - 2009 - Synthesis (la Plata) 16:99-112.
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  • (1 other version)To praise, not to bury: Simonides fr. 531P.Deborah Steiner - 1999 - Classical Quarterly 49 (02):383-.
    Unresolved questions surround Simonides fr. 531, which eulogizes the Greeks who fell at Thermopylae. To what genre do these lines belong, what were the original conditions of their performance, and does Diodorus Siculus, who preserves the fragment, transmit just an extract or the complete piece? Commentators even differ as to where Simonides’ lines began: for some the words τŵυ ༐υ Θερμοπλαιζ θαυóυτωυ form part of the original composition, for others they conclude Diodorus' prose introduction. In my reading of the fragment, (...)
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  • The Greek Ὕμνοσ: High Praise for Gods and Men.Michael E. Brumbaugh - 2019 - Classical Quarterly 69 (1):167-186.
    Over a hundred instances of the word ὕμνος from extant archaic poetry demonstrate that the Greek hymn was understood broadly as a song of praise. The majority of these instances comes from Pindar, who regularly uses the term to describe his poems celebrating athletic victors. Indeed, Pindar and his contemporaries saw the ὕμνος as a powerful vehicle for praising gods, heroes, men and their achievements—often in service of an ideological agenda. Writing a century later Plato used the term frequently and (...)
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