ORALITY AND PERFORMANCE IN THE GREEK TRADITION

The article discusses the role of ancient Greek prose rhythm, comparing the practice of Gorgias to student prose gratulations from the 17th century Academia Gustavo-Carolina in Tartu and Pärnu.

Classics for All, 2018

"Papaioannou, Sophia, Andreas Serafim, and Beatrice da Vela (eds.). Theatre of Justice: Aspects of Performance in Greco-Roman Oratory and Rhetoric (Under Contract, Brill)

Contributors: Ian Worthington, Christopher Carey, Catherine Steel, Edward M. Harris, Konstantinos Kapparis, Christos Kremmydas, Brenda Griffith-Williams, Guy Westwood, Henriette van der Blom, Kostas Apostolakis, Beatrice da Vela, Kathryn Tempest, Dimos Spatharas, Jon Hall, Alessandro Vatri. Reviews: (1) Peter O' Connell, The Classical Review 68 (2018) 34-37: https://www.cambridge.org/core/journals/classical-review/article/theatre-of-oratory-s-papaioannou-a-serafim-b-da-vela-edd-the-theatre-of-justice-aspects-of-performance-in-grecoroman-oratory-and-rhetoric-mnemosyne-supplements-403-pp-xii-355-leiden-and-boston-brill-2017-cased-126-us146-isbn-9789004334649/8406EF25818F2751EF3AECC082EDA5FC. (2) Cristian Criste, München: http://www.hsozkult.de/publicationreview/id/rezbuecher-27889 (in German). Citations: (1) G. Nagy and M. Noussia-Fantuzzi (eds.). Solon in the Making: The Early Reception in the Fifth and Fourth Centuries (De Gruyter 2015). (2) A. Vatri, Orality and Performance in Classical Attic Prose: A Linguistic Approach (Oxford 2017). (3) G. Westwood, Bryn Mawr The Classical Review 2017.09.40. (4) K. Kapparis, Bryn Mawr The Classical Review 2017.11.02. (5) A. Petkas, “The King in Words: Performance and Fiction in Synesius’ DeRegno”, American Journal of Philology 139 (2018) 123-151. (6) C. Carey, I. Giannadaki and B. Griffith-Williams, Use and abuse of law in the Athenian courts (Leiden and Boston 2018). (7) U. Babusiaux, W. Kaiser and M. Schermaier (eds.). Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Romanistische Abteilung, Volume 135, Issue 1, Pages 877–919.

The Byzantine World, 2011

Who speaks is not who writes, and who writes is not who is.

Journal Early Christian Studies, 2019

POEMA, 2022

This paper traces recent developments in the study of early Greek lyric poetry and suggests some tracks that could be followed in the near future. Research on early Greek lyric poetry has undergone significant change over the last five decades. From the 1970ies onwards, scholars tended to emphasize the performative context of the songs, including its social or cultic function. Only in recent years have interpreters started to rediscover the textual dimension of the poems, i.e. their status as literary texts that were intended to be received beyond their primary performance. Other vibrant fields of research that have been recently, or could be fruitfully, applied to early Greek lyric poetry include historical narratology, diachronic narratology, and cognitive poetics. In order to illustrate some of these developments and potential, I summarize recent approaches to the problem of the poetic ›I‹ in Pindar, including my own model, and suggest the more general phenomenon of underdetermined reference as a possible topic for future research on different branches of lyric poetry.

This study presents an experimental approach to the rhythmic and semantic interpretation of the text of the Persians. This approach interprets the lines of the play as a series of self-contained utterances, called tone groups, rather than according to the metrically regular lines of the traditional texts. Tone groups are to the spoken word what punctuation is to the written word; they organise the material into discrete semantic units. The effect of analysis by tone group is to show that the play is composed of a series of self-contained statements from which meaning is constructed. These statements commonly scan to word-end as recurring rhythmical units. A metrical system is tentatively proposed on this basis. It is argued that this approach represents the text according to the oral-aural qualities of the original performance. The thesis contains a general introduction that canvasses the issues pertaining to oral tradition and the dictates of the oral-aural performance context of early tragedy, followed by an introduction to tone-grouping as an interpretive praxis, and a detailed methodological statement. There follows a chapter (Tables of Measures and Nomenclature) that describes the recurrent rhythmical units with a theoretical statement of the implied principles of their generation. Two new texts, a Working Text and an Experimental Text, are generated from the analysis by tone-group of the selected portions of the play. These texts are experimental and should be regarded only as a first steps toward a text of the play that better represents its origin in oral performance. The bulk of the thesis consists of four chapters of metrical and interpretive commentaries, one for each of the four principal types of poetry used in tragedy. There is a separate discussion of analysed portions of the kommos (Appendix V). The central conclusions are then presented, along with a survey of directions for further study.

This article analyzes the genre excursion lectures in the Hellenistic rhetoric. Public interest in the little-explored excursion discourse rhetoric found its detection in research, monographs, dissertations, and articles, as well as textbooks and manuals on rhetoric, philology, semantics, journalism, speech writing, science tours. In today 's tour of rhetoric discourse function techniques and strategies of ancient rhetoric, the study of which is by using discourse analysis, can help to explicate the "depth" of the information contained in the texts of the speeches of antiquity. The use of the discursive method allows the author to define the place of Philostratus the Elder and Philostratus the Younger, Callistratus in the heritage of ancient eloquence. In modern science, there are different definitions of discourse : as a "special use of language to express a special mentality" (S. Stepanov), as the ratio of the mental world (M. N. Kozhina), communicative sphere (V. E. Chernjavskaja), concept (V. Z. Demyankov), socially and historically specific social practices (W. Maas), the social roles of participants communications (A. Mack Hole), social space ( O. I. Sheigal ), etc. Discourse defines the semiotic characteristics of speech that help shape the texts. British researchers R. Hodge and G. Kress view text and discourse as complementary, emphasizing at the same time, or social or verbal level. Dutch researcher T. van Dijk considers communicative discourse as a complex phenomenon that includes the social context information about participants in communication, knowledge of the process of production and reception of texts. The discourse is not only a linguistic structure, and above all, socio-linguistic. Russian scientist E. Parshina understands political discourse " speech activities of political actors in the area of institutional communication" and notes that the communicative features of political discourse is " institutional, conventionality and publicity (Official )". As the V. E. Chernjavskaja, "traditionally belonged to the means aesthetization speech, namely, stylistic, rhetorical aspects of the "eloquence". In this case, it is clear that a significant aesthetic potential is contained in the material organization of the text. The author believes that "the text in its many forms of existence is perceived as a unity speech component and the image that accompanies it. Verbal and visual together in a coherent whole. It may be a different ratio between the verbal and the visual component in multi-coded text. For example, when the picture is a kind of decorative design of a voice message, and in fact its double-coded to enhance information loss. This verbal and visual text is a strong persuasive charge". The material with which we will deal has Inverse from the point of view of subordination of visual and verbal information, a number of character. Because there is not the picture accompanies and reinforces verbal information, and vice versa, there is a strengthening visuals through verbalizing visual information. On the other hand , a feature of these texts is that they are explicitly communicative, as explicated are the communicator and the communicant, and the text unfolds as multi-discourse that combines form of rhetoric - an educational and academic - a genre that Aristotle deduced beyond the rhetoric - conversation. It is known that Philostratus the Elder lived in the II century AD, Philostratus Jr. - in the III century AD. Since Philostratus’s was a whole family, the author of the first "picture" S. Kondratiev identifies as Philostratus III or older, and his grandson in the female line - as Philostratus junior. Philostratus the Elder book is written as a retrospective record conversations instructive-educational nature, which he once had with the youth. At the same time he Philostratus clearly attributed with his work as public speaking. In his book, the author examines the paintings, which, unfortunately, have not reached now. In the fragment "Scamander" Philostratus the Elder describes the works of Homer, which were the subject of the image on the wall of the villa on the outskirts of Naples. The content of pictures and Philostratus the Elder and his grandson Philostratus Jr. described in a much broader context than the story itself : both refer to the cultural knowledge of his era, myths and singing Homer to explain the background and even the " Afterword " of the image. They explicated the verbal means of the cultural code that was formed, and there still existed the Greek culture. Even the authors can be characterized not only as rhetoricians, but also highly educated people. Callistratus (probably lived in the IV century AD) characterizes not only the manner of one or the other of the sculptor, but also carefully describes the material with which he worked, and transmits the impression of how managed to get comfortable with this material the artist. So, ceases known that Bacchanate Scopas created in Parian marble, and the skill of the sculptor is expressed in words , as if "it (skulpture. – O. G.) might seem alive. The stone itself remains the same stone, seemed to have violated laws which are associated with its blind nature. What stood in front of our eyes, it was actually just a statue. Art is in its repetition it did seem to be such that we have life. "About the statue of Eros by Praxiteles Callistratus reports that it was made of copper. Indirectly characterized by the skill of the sculptor, "... copper wonderfully transformed into a beautiful tender body ... which was the color of copper. He (Eros) seemed blooming marvelous tan". Copper also was a statue by Lysippos "happy event", which Callistratus describes as follows: " in her art came into competition with the nature". Another sculpture by Praxiteles "Dionysus", was made of copper, again characterized by Callistratus skill of the sculptor, for "hands Praxiteles created things quite as lively". In the statue of Memnon, as the author writes, the art has invested the ability to feel joy, to experience the mountain, only in it ... art has invested in a stone and a voice, and thought". Another similar statue - " Іndian" - also set in stone, according to the description Callistratus, obsidian or granite and accurately transfer the structure of the body. Describing the marble statue of Medea, Callistratus draws attention to its strong passions, which have been handed posture of the body. Callistratus attracted the attention and the sculptural group " Afamas ", which was made of wax, and do not come down to our days. To the east of Greece Callistratus transferred to Egypt, describing the sculpture Satire made of stone. Callistratus feature of the book is the aesthetic quality of his tour " lectures" . Vaughn is made most often by means of impersonal revolutions that promotes "academization" discourse. So, in the conclusions of our article, we note that Philostratus, especially seniors, due to the emergence of the ancient Hellenistic rhetoric genre lecture - tour. Lectures on art subjects, read Philostratus the Elder, was the first excursion lectures, which were held at the Art Gallery suburbs of Naples in the II century AD. However, if Philostratus "conducted" tours of art galleries, namely the senior, the " Statues " Callistratus could be defined as a virtual tour of the museum in the IV AD, which exhibits even though they were quite tangible, but are spread throughout the Hellenistic Oikumena coming together only in the mind's vision Callistratus. Genre lecture as a form of academic rhetoric formed in the days of the early classics. At the same genre excursion lectures likely to Philostratus and Callistratus not exist (at least in written sources have not survived). Guided lectures take place in the aesthetic discourse, as evidenced by the objects of these lectures - they are devoted to the works of painting and sculpture. The aesthetic discourse of books of Philostratus and Callistratus show and marker words, "beautiful ", "wonderful ", "inspired work ", "holy art", etc. The point to him and aesthetically relevant concepts that have become so contextually or because of hermeneutical procedures explication of a specific text. Such is the appeal to nature, similarity, the similarity to her that shows the ancient paradigm of art as mimesis, similarity. Key words: Hellenistic rhetoric, sightseeing lecture, aesthetic discourse, discursive method.