By Mary R. Lamb
This assortment is set writing contests, a colourful rhetorical perform traceable to rhetorical performances in historic Greece. of their dialogue of contests' cultural paintings, the students during this assortment discover very important questions on our practices. for instance, academic contests as epideictic rhetoric do certainly have fun writing, yet does this social gathering only relieve educators of the accountability of discovering methods for all writers to be successful? Contests designed to present unmarried winners and singly-authored works admirably have fun labor, yet do they over-emphasize unparalleled person success over shared ambitions and communal present for fulfillment? Taking a cultural-rhetorical method of contests, each one bankruptcy demonstrates the cultural paintings the contests accomplish. The essays partially I study contests and riddles in classical Greek and Roman sessions, academic contests in eighteenth-century Scotland, and the Lyceum circulate within the Antebellum American South. the following set of essays discusses how contests leverage festival and present in academic settings: medieval universities, American turn-of-the-century women's schools, twenty-first century scholarship-essay contests, and writing contests for audio system of different languages within the college of Portugal. The final set of essays examines renowned contests, together with poetry contests in early life Spoken be aware, renowned American contests designed via agents, and twenty-first century podcasting competitions. This assortment, then, takes up contests as a cultural marker of our values, assumptions, and relationships to writing, contests, and festival
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Extra resources for Contest(ed) writing : re-conceptualizing literacy competitions
Nero fancied himself an artist and was an ardent philhellene; he wished to diminish the Roman obsession for “vulgar” gladiatorial games of Etruscan origin with more refined Hellenic entertainment. Nero promoted literary and rhetorical contests in the Greek style not only in Rome but also throughout the Empire (OCD, 1037). In fact, according to David S. Potter, Nero “was the first Roman ruler to found games specifically for Greek competitors at Rome (and to compete in them himself with stunning, if unsurprising, success)” (279).
This view is supported by Whitmarsh, who connects the archaic competitions to those in the Second Sophistic: “The aim of these declamations [intellectual contests] was not to persuade a jury to convict or release a defendant, nor was it to commend a certain course of action to the city … [they were] ‘epideictic’: the speeches, that is, were delivered for the occasion alone, to solicit the pleasure, admiration, and respect of the audience (3). The major purpose of the speeches was to delight and to teach.
Festivals of Attica: An Archaeological Commentary. U of Wisconsin P, 1983. Print. Sophocles. Oedipus Tyrannus. Trans. Peter Meneike and Paul Woodruff. New York, NY: Hackett, 2000. Print. Snodgrass, Anthony M. Archaic Greece: The Age of Experiment. Berkeley, CA: U of California P, 1981. Print. Sprague, Rosamond Kent, ed. “82. ” Trans. George Kennedy. The Older Sophists: A Complete Translation by Several Hands of the Fragments in Die Fragmente Der Vorsokratiker. Hackett Publishing, 2001. 30-64. Print.