By Elton T. E. Barker
This ebook investigates some of the most attribute and renowned beneficial properties of historical Greek literature - the scene of discussion or agon, within which with various levels of ritual characters sq. as much as one another and interact in a competition of phrases. Drawing on six case experiences of other types of narrative - epic, historiography and tragedy - and authors as diversified as Homer, Herodotus, Thucydides, Sophocles and Euripides, this wide-ranging examine analyses each one instance of dialogue in its context based on a collection of interrelated questions: who debates, whilst, why, and with what outcomes? in line with the altering representations of discussion throughout and inside diversified genres, it indicates the significance of dialogue to those key canonical genres and, in flip, the position of literature within the development of a citizen physique in the course of the exploration, copy and administration of dissent from authority.
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Extra info for Entering the Agon: Dissent and Authority in Homer, Historiography, and Tragedy
Example text
The first section sets out Achilles’ challenge to Agamemnon’s authority in the assembly that opens the epic, a challenge that precipitates the even greater crisis in the Achaean community of Achilles’ withdrawal. The second section takes up the story by analysing the two subsequent Achaean assemblies of books 2 and 9, which are key not only for charting a process of dissenting without Achilles, but also for exploring the boundaries of debate, such as who can dissent, who cannot, how does one do it properly, and so on.
2,’ LSJ reads ‘of style, energetic, vivid, opp. äØŪÅìÆôØŒüò (as epith. of Il. )’. Russell (1964) renders the translation, ‘he made the whole piece lively with dramatic action’. 6 This is ‘flyting’, fighting talk: Parks (1986; 1990); R. P. Martin (1989), esp. 65–77. 7 Debate in Homeric epic—what form it takes, what significance it has, whether or not it even exists—has been a matter of some controversy in recent scholarship. Generally speaking it is possible to identify two contrasting strands of criticism.
3 below. For an attempt to supplement studies of resonance with the added focus on inter-poetic rivalry, see Barker and Christensen (2008). 6 But the Odyssey also dramatizes contest, most notably in Odysseus’ battle against the suitors. Besides, Longinus applies the two other terms to denote the way the story is told, as either dramatic (in the case of the Iliad ) or else diegetic (as regards the Odyssey). In this sense the suggestion seems to be that the Iliad is somehow more ‘in contest’ in its narration, making that poem the more dialogic narrative.