By Mary R. Lamb
This assortment is ready 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 vital questions about our practices. for instance, academic contests as epideictic rhetoric do certainly rejoice writing, yet does this get together purely relieve educators of the accountability of discovering methods for all writers to prevail? Contests designed to present unmarried winners and singly-authored works admirably have fun exertions, yet do they over-emphasize extraordinary person fulfillment over shared pursuits and communal gift for achievement? 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 classes, academic contests in eighteenth-century Scotland, and the Lyceum flow within the Antebellum American South. the subsequent set of essays discusses how contests leverage festival and gift 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 collage of Portugal. The final set of essays examines well known contests, together with poetry contests in early life Spoken notice, well known 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
A History of Contests in Rome One of the achievements of the Hellenistic culture was the Greeks’ “tendency and ability to encompass all of life within the horizon of playful competition” (Consigny 74). As Consigny points out, “In this respect Nietzsche depicts the Greeks as using the agon to transform the potential destructiveness of physical combat into a creatively playful activity that encourages contestants to overcome not only their adversaries but their own prior achievements and limits” (74).
Web. 16 February 2009. J. ” Mnemosyne. Fourth Series. 1-2 (1989): 24-40. Print. Homer. The Iliad. Trans. Robert Fagle. New York, NY: Viking, 1990. Print. Mythic and Legendary Origins of Writing Contests 37 Hyde, Lewis. Trickster Makes This World: Mischief, Myth, and Art. NY: Farrar, Straus, and Giroux, 1998. Print. Isadore of Seville. The Etymologies. Trans. Steven A. Barney. Cambridge, MA: Cambridge UP, 2006. Print. Jowett, Benjamin, trans. and ed. The Dialogues of Plato. Volume I. NY Scribner, Armstrong & Company, 1874.
Finally, the term sophia is of significance for its connection to knowledge, wisdom and education. Schiappa argues that in the archaic period sophia was situated within poetry, and especially divinity, so that poetry reflected the world, and that this expression was divinely granted (162). In the Classical period though, with the shift from poetry to rhetoric, and from poetry contests to competitions of skill in rhetoric and oratory, ideas of knowledge and truth also moved. For Consigny, Gorgias “locates the source of truth in the institution of the agon, or ‘contest,’ a contingent practice engaged in by members of the Hellenic community” (73-74).
Contest(ed) writing : re-conceptualizing literacy competitions by Mary R. Lamb