This book examines the progress of literacy in ancient Greece from its origins with the introduction of the alphabet in the eighth century to the fourth century, when the major cultural institutions of Athens became totally dependent on alphabetic literacy. Professor Robb introduces much new evidence and re-evaluates older evidence to demonstrate that early Greek literacy can only be understood in terms of the rich oral culture that immediately preceded it, one that was dominated by the oral performance of epical (...) verse, or "Homer". The eventual dependence of Athenian democratic institutions, notably law and higher education, on the technology of writing contributed to the "miracle" of Greece. (shrink)

As well as producing one of the finest of all poetic traditions, ancient Greek culture produced a major tradition of poetic theory and criticism. Halliwell's volume offers a series of detailed and challenging interpretations of some of the defining authors and texts in the history of ancient Greek poetics: the Homeric epics, Aristophanes' Frogs, Plato's Republic, Aristotle's Poetics, Gorgias's Helen, Isocrates' treatises, Philodemus' On Poems, and Longinus' On the Sublime. The volume's fundamental concern is with how the Greeks conceptualized the (...) experience of poetry and debated the values of that experience. The book's organizing theme is a recurrent Greek dialectic between ideas of poetry as, on the one hand, a powerfully enthralling experience in its own right and, on the other, a medium for the expression of truths which can exercise lasting influence on its audiences' views of the world. Citing a wide range of modern scholarship, and making frequent connections with later periods of literary theory and aesthetics, Halliwell questions many orthodoxies and received opinions about the texts analysed. The resulting perspective casts new light on ways in which the Greeks attempted to make sense of the psychology of poetic experience—including the roles of emotion, ethics, imagination, and knowledge—in the life of their culture. Readership: Scholars and students of Greek literature, Greek poetics, and literary theory and criticism. (shrink)

From the older handbooks to the more recent scholarly literature, Gorgias's professions about his art are taken literally at their word: conjured up in all of these accounts is the image of a hearer irresistibly overwhelmed by Gorgias's apagogic and psychagogic persuasions. Gorgias's own description of his art, in effect, replaces our description of it. "His proofs... give the impression of ineluctability" . "Thus logos is almost an independent external power which forces the hearer to do its will" . "Incurably (...) deceptive," logos has an "enormous power" that acts upon opinion, which is "easy to change" . Surprisingly, the urge to describe or paraphrase Gorgias's art has caused commentators to overlook the very best witness of it that we have: its enactment, which is to say the performative value of Gorgias's writings, especially the speeches. For if Gorgias's literary remains do nothing else, they demonstrate how one can do things with words without being explicit about what is being done, even if this means contradicting, performatively, what is being said-as for instance in his statements, so unconvincingly made, about the ostensible aims of rhetoric. Was Gorgias persuasive in practice? Was persuasion even the goal? Is logos the solitary arbiter of reality that it is so often made out to be? Through close examination of Gorgias's Helen and parts of On Not-Being, I attempt to show that persuasion is manifestly not the goal of his arguments, which in the first instance are aporetic paradoxes that expose the difficulties of defining the nature of either language or reality, and which in the last instance are instruments of cultural demystification. The only deception at work in Gorgias's writings is that of the self-deception of their audience. It is this that gives these curiously revealing documents of fifth-century Greek culture their "dissuasive," not persuasive, character. (shrink)

"Gagarin demonstrates persuasively that Antiphon the logographer is identical with the Antiphon who made intellectual contributions on more abstract topics." —Mervin R. Dilts, Professor of Classics, New York University Antiphon was a fifth-century Athenian intellectual (ca. 480-411 BCE) who created the profession of speechwriting while serving as an influential and highly sought-out adviser to litigants in the Athenian courts. Three of his speeches are preserved, together with three sets of Tetralogies (four hypothetical paired speeches), whose authenticity is sometimes doubted. Fragments (...) also survive of intellectual treatises on subjects including justice, law, and nature (physis), which are often attributed to a separate Antiphon the Sophist. Were these two Antiphons really one and the same individual, endowed with a wide-ranging mind ready to tackle most of the diverse intellectual interests of his day? Through an analysis of all these writings, this book convincingly argues that they were composed by a single individual, Antiphon the Athenian. Michael Gagarin sets close readings of individual works within a wider discussion of the fifth-century Athenian intellectual climate and the philosophical ferment known as the sophistic movement. This enables him to demonstrate the overall coherence of Antiphon's interests and writings and to show how he was a pivotal figure between the sophists and the Attic orators of the fourth century. In addition, Gagarin's argument allows us to reassess the work of the sophists as a whole, so that they can now be seen as primarily interested in logos (speech, argument) and as precursors of fourth-century rhetoric, rather than in their usual role as foils for Plato. (shrink)

This book explores the place of the sophists within the Greek wisdom tradition, and argues against their almost universal exclusion from serious intellectual ...

The third volume of Professor Guthrie's great history of Greek thought, entitled The Fifth-Century Enlightenment, deals in two parts with the Sophists and Socrates, the key figures in the dramatic and fundamental shift of philosophical interest from the physical universe to man. Each of these parts is now available as a paperback with the text, bibliography and indexes amended where necessary so that each part is self-contained. The Sophists assesses the contribution of individuals like Protagoras, Gorgias and Hippias to the (...) extraordinary intellectual and moral fermant in fifth-century Athens. They questioned the bases of morality, religion and organized society itself and the nature of knowledge and language; they initiated a whole series of important and continuing debates, and they provoked Socrates and Plato to a major restatement and defence of traditional values. (shrink)

This 1995 book takes as its starting point Plato's incorporation of specific genres of poetry and rhetoric into his dialogues. The author argues that Plato's 'dialogues' with traditional genres are part and parcel of his effort to define 'philosophy'. Before Plato, 'philosophy' designated 'intellectual cultivation' in the broadest sense. When Plato appropriated the term for his own intellectual project, he created a new and specialised discipline. In order to define and legitimise 'philosophy', Plato had to match it against genres of (...) discourse that had authority and currency in democratic Athens. By incorporating the text or discourse of another genre, Plato 'defines' his new brand of wisdom in opposition to traditional modes of thinking and speaking. By targeting individual genres of discourse Plato marks the boundaries of 'philosophy' as a discursive and as a social practice. (shrink)

In Gorgias and the New Sophistic Rhetoric, Bruce McComiskey achieves three rhetorical goals: he treats a single sophist's rhetorical technê (art) in the context of the intellectual upheavals of fifth-century bce Greece, thus avoiding the problem of generalizing about a disparate group of individuals; he argues that we must abandon Platonic assumptions regarding the sophists in general and Gorgias in particular, opting instead for a holistic reading of the Gorgianic fragments; and he reexamines the practice of appropriating sophistic doctrines, particularly (...) those of Gorgias, in light of the new interpretation of Gorgianic rhetoric offered in this book. In the first two chapters, McComiskey deals with a misconception based on selective and Platonic readings of the extant fragments: that Gorgias's rhetorical technê involves the deceptive practice of manipulating public opinion. This popular and ultimately misleading interpretation of Gorgianic doctrines has been the basis for many neosophistic appropriations. The final three chapters deal with the nature and scope of neosophistic rhetoric in light of the non-Platonic and holistic interpretation of Gorgianic rhetoric McComiskey postulates in his opening chapters. He concludes by examining the future of communication studies to discover what roles neosophistic doctrines might play in the twenty-first century. McComiskey also provides a selective bibliography of scholarship on sophistic rhetoric and philosophy in English since 1900. (shrink)

Certain Greek texts depict Helen in a manner that connects her elusive body with the elusive maneuvers of the persuasive story. Her too-mobile body signals in these texts the obscurity of agency in the seduction scene and serves as a device for tracking the dynamics of desire. In so doing this body propels poetic narrative and gives structure to persuasive argumentation. Although the female figure in traditional texts is always the object of male representation, in this study I examine a (...) set of images of a female body whose representation ultimately seems to frustrate the narrative strategies for which its depiction was created. What emerges in the fifth century as a rhetorical technique begins in Book 3 of the Iliad as a narrative strategy that uses Helen's cloaked and disappearing body to catalyze plot, and develops in Sappho's fr. 16 into a logic of desire shaped by the movement of Helen's and other bodies in the visual field. Gorgias, in the Encomium of Helen, transforms these depictions of Helen into an argument that is structured by Helen's body, an argument that Helen herself employs in Euripides' Troades, where her own body serves as the anatomy of her argument. These texts all associate Helen's body with a type of persuasive narrative that repeatedly invokes the field of vision, describing physical presence in terms that aim at attracting the eye. At the same time this verbal portraiture disrupts the audience's perspective by depicting bodies as cloaked, mobile, and/or half seen, and by obscuring distinctions between desirer and desired, viewer and viewed. As both subject and object in this viewing process, Helen's body comes to be associated with the double vision of seduction and the distracting power of persuasive images, which seduce the mind's eye while eluding the mind's grasp. (shrink)

A comprehensive discussion of Plato's treatment of techne, which shows that the final goal of Platonic philosophy is nontechnical wisdom. The Greek word "techne," typically translated as "art," but also as "craft," "skill," "expertise," "technical knowledge," and even "science," has been decisive in shaping our "technological" culture. Here David Roochnik comprehensively analyzes Plato's treatment of this crucial word. Roochnik maintains that Plato's understanding of both the goodness of techne, as well as its severe limitations and consequent need to be supplemented (...) by "nontechnical" wisdom, can speak directly to our own concerns about the troubling impact technology has had on contemporary life. For most commentators, techne functions as a positive, theoretical model through which Plato attempts to articulate the nature of moral knowledge. Scholars such as Terence Irwin and Martha Nussbaum argue that Plato’s version of moral knowledge is structurally similar to techne. In arguing thus, they attribute to Plato what Nietzsche called "theoretical optimism," the view that technical knowledge can become an efficient panacea for the dilemmas and painful contingencies of human life. Conventional wisdom has it, in short, that for Plato technical, moral knowledge can solve life's problems. By systematically analyzing Socrates’ analogical arguments, Roochnik shows the weakness of the conventional view. The basic pattern of these arguments is this: if moral knowledge is analogous to techne, then insurmountable difficulties arise, and moral knowledge becomes impossible. Since moral knowledge is not impossible, it cannot be analogous to techne. In other words, the purpose of Socrates' analogical arguments is to reveal the limitations of techne as a model for the wisdom Socrates so ardently seeks. For all the reasons Plato is so careful to present in his dialogues, wisdom cannot be rendered technical; it cannot become techne. Thus, Roochnik concludes, Plato wrote dialogues instead of technical treatises, as they are the appropriate vehicle for his expression of nontechnical wisdom. (shrink)

This book offers an introduction to the Sophists of fifth-century Athens and a new overall interpretation of their thought. Since Plato first animadverted on their activities, the Sophists have commonly been presented as little better than intellectual mountebanks - a picture which Professor Kerferd forcefully challenges here. Interpreting the evidence with care, he shows them to have been part of an exciting and historically crucial intellectual movement. At the centre of their teaching was a form of relativism, most famously expressed (...) by Protagoras as 'Man is the measure of all things', and which they developed in a wide range of views - on knowledge and argument, virtue, government, society, and the gods. On all these subjects the Sophists did far more than simply provoke Plato to thought. Their contributions were substantial and serious; they inaugurated the debate on many central philosophical questions and decisively shifted the focus of philosophical attention from the cosmos to man. (shrink)

Speakers address audiences in the earliest Greek literature, but oratory became a distinct genre in the late fifth century and reached its maturity in the fourth. This book traces the development of its techniques by examining the contribution made by each orator. Dr Usher makes the speeches come alive for the reader through an in-depth analysis of the problems of composition and the likely responses of contemporary audiences. His study differs from previous books in its recognition of the richness of (...) the early tradition which made innovation difficult, however, the orators are revealed as men of remarkable talent, versatility, and resource. Antiphon's pioneering role, Lysias' achievement of balance between the parts of the speech, the establishment of oratory as a medium of political thought by Demosthenes and Isocrates, and the individual characteristics of other orators - Andocides, Isaeus, Lycurgus, Hyperides, Dinarchus and Apollodorus - together make a fascinating study in evolution; while the illustrative texts of the orators include some of the liveliest and most moving passages in Greek literature. (shrink)

Speakers address audiences in the earliest Greek literature, but oratory became a distinct genre in the late fifth century and reached its maturity in the fourth. This book traces the development of its techniques by examining the contribution made by each orator. Dr Usher makes the speeches come alive for the reader through an in-depth analysis of the problems of composition and the likely responses of contemporary audiences. His study differs from previous books in its recognition of the richness of (...) the early tradition which made innovation difficult; however, the orators are revealed as men of remarkable talent, versatility, and resource. Antiphon's pioneering role, Lysias' achievement of balance between the parts of the speech, the establishment of oratory as a medium of political thought by Demosthenes and Isocrates, and the individual characteristics of other orators - Andocides, Isaeus, Lycurgus, Hyperides, Dinarchus and Apollodorus - together make a fascinating study in evolution; while the illustrative texts of the orators include some of the liveliest and most moving passages in Greek literature. (shrink)

Aristotle's statement that the spectator of epideictic rhetoric judges dynamis is problematic because it seems to direct audience judgment towards the ability of the speaker as opposed to the subject-matter of his speech. I argue that, as a reference to the speaker's ability, the remark indexes the peculiar competitive structure in which speeches of praise and blame are conventionally involved. Thus understood, it is essential to Aristotle's taxonomy of genres and helps resolve the dilemma created by naming the genre of (...) praise and blame after a mode of performance, epideixis, compatible with speeches of any formal description. (shrink)