There have been numerous attempts to understand the role and importance of the Great Dionysia in Athens, and it is a festival that has been made crucial to varied and important characterizations of Greek culture as well as the history of drama or literature. Recent scholarship, however, has greatly extended our understanding of the formation of fifth-century Athenian ideology—in the sense of the structure of attitudes and norms of behaviour—and this developing interest in what might be called a ‘civic discourse’ (...) requires a reconsideration of the Great Dionysia as a city festival. For while there have been several fascinating readings of particular plays with regard to thepolisand its ideology, there is still a considerable need to place the festival itself in terms of the ideology of thepolis. Indeed, recent critics in a justifiable reaction away from writers such as Gilbert Murray have tended rather to emphasize on the one hand that the festival is a place of entertainment rather than religious ritual, and on the other hand that the plays should be approached primarily asdramaticperformances. (shrink)

Ecrit vraisemblablement vers 386/385, le Menexene s'attache a l'eloquence politique lors d'oraison funebre en l'honneur de citoyens morts au combat. Dans ce dialogue, Socrate indique au jeune Menexene qui entre en politique, comment se moquer des orateurs en lui recitant une oraison funebre provenant de sa maitresse Aspasie, epouse de Pericles. L'ouvrage decortique l'un des premiers dialogues de Platon.

Fifth-century Athens is praised as the cradle of democracy and sometimes treated as a potential model for modern political theory or practice. In this daring reassessment of classical Athenian democracy and its significance for the United States today, Loren J. Samons provides ample justification for our founding fathers' distrust of democracy, a form of government they scorned precisely because of their familiarity with classical Athens. How Americans have come to embrace "democracy" in its modern form—and what the positive and negative (...) effects have been—is an important story for all contemporary citizens. Confronting head-on many of the beliefs we hold dear but seldom question, Samons examines Athens's history in the fifth and fourth centuries B.C. in order to test the popular idea that majority rule leads to good government. Challenging many basic assumptions about the character and success of Athenian democracy, _What's Wrong with Democracy? _offers fascinating and accessible discussions of topics including the dangers of the popular vote, Athens's acquisitive foreign policy, the tendency of the state to overspend, the place of religion in Athenian society, and more. Sure to generate controversy, Samons's bold and iconoclastic book finds that democracy has begun to function like an unacknowledged religion in our culture, immune from criticism and dissent, and he asks that we remember the Athenian example and begin to question our uncritical worship of democratic values such as freedom, choice, and diversity. (shrink)

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 (...) a foil for Socrates' dialectical method; philosophic discourse is both defined and legitimated by way of its opposition to eulogy. In the Symposium, Plato offers a much more complex critique. First, he illustrates and comments on the vices that inhere in the encomiastic genre. Second, he juxtaposes Socrates' ironic ‘praises’ of his interlocutors with traditional encomiastic discourse, thus inviting the reader to explore the relation between Socratic irony and the rhetoric of eulogy . And, third, the Symposium exhibits two untraditional ‘encomia’ – Socrates' eulogy for Eros and Alcibiades' for Socrates – that illustrate and interrogate the false ontology underlying the rhetoric of praise. (shrink)