By Elton T. E. Barker
This publication investigates essentially the most attribute and favourite positive aspects of historical Greek literature - the scene of dialogue or agon, during which with various levels of ritual characters sq. as much as one another and have interaction in a competition of phrases. Drawing on six case reviews of other sorts of narrative - epic, historiography and tragedy - and authors as diversified as Homer, Herodotus, Thucydides, Sophocles and Euripides, this wide-ranging examine analyses every one instance of dialogue in its context in accordance with a suite of interrelated questions: who debates, while, why, and with what results? according to the altering representations of discussion throughout and inside varied genres, it exhibits the significance of discussion to those key canonical genres and, in flip, the position of literature within the building of a citizen physique throughout the exploration, copy and administration of dissent from authority.
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Extra resources for Entering the Agon: Dissent and Authority in Homer, Historiography, and Tragedy
Lowe (2000), 103) The material gathered here derives from three genres on the principle that a study of debate is best served by an investigation that crosses generic boundaries and incorporates different textual and cultural contexts. Each of the three genres has been chosen due to the prominence of scenes of debate within it; but other factors are at play too, since each genre also presents the opportunity of looking at debate from radically different and distinctive points of view. 73 On the other hand, the third genre, historiography, ﬁnds its way into this study on the basis of the vastly different genesis of its narrative.
Extrapolating from the prologue frame, in which the character-narrator warns us that ‘the story won’t tell’, Felman argues that the text ‘comprehends the critic’ and ‘through its reading, orchestrates the critical disagreement as the performance and the “speech act ” of its own disharmony’ (p. 161). Cf. Booth (1961), 311–16, 364–71. 68 More generally we will be faced with the problem of making sense of the contest of voices, as either setting up rival positions in which a space opens up in-between, thereby allowing ‘dialogue’ to take place between the text and its reader,69 or else constructing an opposition in which one position is clearly favoured over another.
Grifﬁn (1977). Indeed, Richard Rutherford treats the Homeric poems as literary creations precisely because of their apparently familiarity with each other, which is ordinarily conceived in terms of the Odyssey replying to the Iliad (though see Pucci (1987), 17–18): Rutherford (1986), 162 with n. 87; (1991–3), esp. 53–4; (1996), 58–61. ’ As a result, the two following chapters will attempt to talk about this relationship in terms of resonance—the theory that describes the process by which particular formulae (conceived of as word-units, motifs or even story patterns) evoke a wider epic tradition, which in turn resonates through each and every particular instance of a particular formula.