By Mary R. Lamb

This assortment is set writing contests, a colourful rhetorical perform traceable to rhetorical performances in old Greece. of their dialogue of contests' cultural paintings, the students during this assortment discover very important questions about our practices. for instance, academic contests as epideictic rhetoric do certainly rejoice writing, yet does this occasion simply relieve educators of the accountability of discovering methods for all writers to prevail? Contests designed to gift unmarried winners and singly-authored works admirably have fun labor, yet do they over-emphasize unheard of person fulfillment over shared ambitions and communal gift for achievement? Taking a cultural-rhetorical method of contests, every one bankruptcy demonstrates the cultural paintings the contests accomplish. The essays partly I research contests and riddles in classical Greek and Roman classes, academic contests in eighteenth-century Scotland, and the Lyceum circulation within the Antebellum American South. the subsequent set of essays discusses how contests leverage pageant and present in academic settings: medieval universities, American turn-of-the-century women's faculties, twenty-first century scholarship-essay contests, and writing contests for audio system of alternative languages within the collage of Portugal. The final set of essays examines renowned contests, together with poetry contests in formative years Spoken note, well known American contests designed through sellers, 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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The crowd acclaimed Homer, but the judge awarded the prize to Hesiod, on the ground that the poet who commended husbandry and the works of peace was to be preferred to the one who told of battle and slaughter. (xxi) West argues that Alcidamas sets the precedent for the work of Virgil, who writes a new form of epic, not martial, but far more intellectual (xxi). In fact, two other fictional contests had been depicted far earlier in Greek drama: in 405 BCE, The Frogs by Aristophanes was produced at the Lenaian Festival, where it won first prize in that contest (Fitts 69).

2; Alston 139). The passage of time has not been kind to Nero. The feelings toward Nero did not soften, and his biographers found little “good” to praise. Nero’s madness and unabashed hedonism prompted even the most objective of historians to dismiss his rule and the impact of his acts as Emperor. This proclivity is also true for historians of rhetoric, who have little or nothing to say about the Emperor that merits praise. George A. Kennedy, for example, only briefly mentions Nero in The Art of Rhetoric in the Roman World and devotes one sentence to the proclamation that will be detailed in this study (433, see also n.

Nero not only granted Greece freedom, but also announced during his public oration that he conferred Roman citizenship (with cash prizes) on his judges (Suetonius, Nero 24). In short, at a time when Nero had depleted the Roman treasury to a dangerously low level, he decided to show his profound love of Hellenic contests and culture both by removing a major source of revenue from the vaults of the imperial treasury and by making the entire province of Greece exempt from tribute! This inscription (Fig.

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