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Full Description
This book is a study of the literary strategies which the first professional philosophers used to market their respective disciplines. Philosophers of fourth-century BCE Athens developed the emerging genre of the "protreptic" (literally, "turning" or "converting"). Simply put, protreptic discourse uses a rhetoric of conversion that urges a young person to adopt a specific philosophy in order to live a good life. The author argues that the fourth-century philosophers used protreptic discourses to market philosophical practices and to define and legitimize a new cultural institution: the school of higher learning (the first in Western history). Specifically, the book investigates how competing educators in the fourth century produced protreptic discourses by borrowing and transforming traditional and contemporary "voices" in the cultural marketplace. They aimed to introduce and promote their new schools and define the new professionalized discipline of "philosophy." While scholars have typically examined the discourses and practices of Plato, Isocrates, and Aristotle in isolation from one another, this study rather combines philosophy, narratology, genre theory, and new historicism to focus on the discursive interaction between the three philosophers: each incorporates the discourse of his competitors into his protreptics. Appropriating and transforming the discourses of their competition, these intellectuals created literary texts that introduced their respective disciplines to potential students.
Contents
Table of Contents ; Introduction ; 1. Protreptic and the " ; 2. Earlier protreptic configurations ; 3. Genre theory and ???????????? ????? ; 4. The rhetorical situation and objective of ???????????? ????? ; Part I. Platonic Protreptic ; Chapter I. Levels of discourse in Plato's dialogues ; Chapter II. Narrative between Sokrates and Krito ; 1. Krito and his agenda ; 2. Sokrates the story-teller ; Chapter III. From narrative to drama: inside the intradiegetic level ; 1. Characters on stage: Sophists, Sokrates, Kleinias, Ktesippos ; 2. Dramatic elements: staging, cheering, seating ; 3. Apotreptic in protreptic discourse ; 4. Formal features of the protreptic ?????????? ; Chapter IV. Return to the extradiegetic level: metalepsis, protreptic, and apotreptic ; 1. From spectator to judge to interlocutor: Krito's " in Scene IV ; 2. Isokratean apotreptic and private program ; 3. Sokrates' apotreptic of the apotreptic ; Chapter V. Creating consumers and consensus in the Protagoras ; 1. Staging a contest among converts ; 2. Preparing consumers for the marketplace of ideas ; 3. Protreptic that builds consensus ; 4. Clitophon and after the protreptic sting ; Part II. Isokratean Protreptic ; Isokratean Philosophy, Pragmatism, and Protreptic ; Chapter VI. 'Professional' protreptic: Against the Sophists ; 1. Challenging the instructor's pledge ; 2. Apotreptically revealing a profession ; Chapter VII. Parainetic protreptic: ?? ?????? and exhorting young tyrants ; 1. Protreptic discourse as secondary genre ; 2. Circumscribing the competition ; 3. Making, using, becoming examples ; Chapter VIII. Judging protreptic: Antidosis, Panathenaicus ; 1. Cultivating critics of protreptic ; 2. Collaborating with competitors: protreptics and " ; Epilogue. Aristotelian Protreptic and a Stabilized GenreEpilogue. Aristotelian Protreptic and a Stabilized Genre
