By Debra Hawhee
The position of athletics in old Greece prolonged well past the geographical regions of kinesiology, pageant, and leisure. In educating and philosophy, athletic practices overlapped with rhetorical ones and shaped a shared mode of information construction. ''Bodily Arts'' examines this interesting intersection, providing an incredible context for realizing the attitudes of old Greeks towards themselves and their surroundings. In classical society, rhetoric used to be an task, person who used to be in essence 'performed'. Detailing how athletics got here to be rhetoric's 'twin paintings' within the physically features of studying and function, ''Bodily Arts'' attracts on different orators and philosophers akin to Isocrates, Demosthenes, and Plato, in addition to scientific treatises and a wealth of artifacts from the time, together with statues and vases. Debra Hawhee's insightful examine spotlights the inspiration of a classical fitness center because the position for a recurring 'mingling' of athletic and rhetorical performances, and using historic athletic guide to create rhetorical education in response to rhythm, repetition, and reaction. providing her info opposed to the backdrop of a vast cultural standpoint instead of a slender disciplinary one, Hawhee provides a pioneering interpretation of Greek civilization from the 6th, 5th, and fourth centuries BCE by means of watching its voters in motion.
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Extra info for Bodily Arts: Rhetoric and Athletics in Ancient Greece
On the other hand, the ending of the play complicates this easy reading of Hetton as victor. When Strepsiades burns down the location for sophistic training (referred to as the Thinkery), the play’s ending suggests that Kreitton emerges the ultimate victor, and old education (archē paideia) prevails. But this reading, like one that crowns Hetton the victor, seems too simple given the play’s ambivalence regarding outcomes in general (Long 1972: 271 and Kastely 1997a). ’’ Similarly, the agōn in the Clouds depends upon the presence of the audience—the Athenians gathered in the theater, the characters Pheidippides and Strepsiades, and the clouds, which are constituted by the very notion of gathering.
BODI LY ARTS 28 Protagoras’ logōn agōnes emerged from the idea of the contest, most accessible in the form of combat sports like wrestling, boxing, and the pankration, a more violent combination of wrestling and boxing. And the effects of a sophistic agōn were apparently much like those of an athletic contest, as Socrates narrates one such encounter with Protagoras: ‘‘His speech really produced noise and approval from many of the listeners; and at ﬁrst I felt as though I had been struck by a skillful boxer, and was quite blind and dizzy with the effect of his words and their shouts of approval’’ (Protagoras 339e).
Because it depends upon molecular afﬁnity (Kenakin 1993) for response production, agonism can be delineated as a response-producing encounter. Contemporary pharmacological terminology thus preserves the distinction between antagonism and agonism evident in Hesiod’s delineation of destructive and productive strife. On one hand, antagonism (or destructive strife) is characterized by stoppage of movement or death, as in war. Agonism, on the other hand, produces envy and speed in movement. As Vernant contends, Hesiod’s passage valorizes ‘‘a life of mixtures’’ (1983: 20).