LORAUX Nicole.
The invention of Athens.
EHESS
Regular price
€16,00
| N° d'inventaire | 26010 |
| Format | 11.5 x 18 |
| Détails | Reissue, 840 p., paperback. |
| Publication | Paris, 2022 for this edition |
| Etat | Nine |
| ISBN | 9782713229152 |
Originally published in 1981, this classic revisits the history of the funeral oration, a genre of eloquence that the Athenians promoted from the 460s BC, and is enriched with an introduction by Vincent Azoulay and Paulin Ismard which will situate its contribution to history and its legacy.
Who invented Athens as the name of the Greek city? Answer: Athens. It should be added that this invention may have taken place in a cemetery in the 5th century. century
before our era. To the citizens who fell in combat, these elite dead, the community
The Athenian woman offers a public funeral and a speech; the earth covers the bones, the funeral oration speaks to the living, exalting the city for the benefit of the citizens, the Greeks, and posterity. And this is how Athens, everyone can see, whether they are happy or angry, has, for a long historical tradition, become the City.
In the topos of the “beautiful death,” that of the citizen-soldier, time stands still.
Men die, glory is theirs because the city remains, source of all
memory, of all value. Athens gains a noble essence, but it loses a
language to express democracy, this novelty of which discourse makes an origin
immemorial, this audacious regime presented in the funeral oration as a
aristocracy of merit. Enough to call into question the well-established idea that
Greeks would have ignored what we call the dominant ideology.
before our era. To the citizens who fell in combat, these elite dead, the community
The Athenian woman offers a public funeral and a speech; the earth covers the bones, the funeral oration speaks to the living, exalting the city for the benefit of the citizens, the Greeks, and posterity. And this is how Athens, everyone can see, whether they are happy or angry, has, for a long historical tradition, become the City.
In the topos of the “beautiful death,” that of the citizen-soldier, time stands still.
Men die, glory is theirs because the city remains, source of all
memory, of all value. Athens gains a noble essence, but it loses a
language to express democracy, this novelty of which discourse makes an origin
immemorial, this audacious regime presented in the funeral oration as a
aristocracy of merit. Enough to call into question the well-established idea that
Greeks would have ignored what we call the dominant ideology.
Originally published in 1981, this classic revisits the history of the funeral oration, a genre of eloquence that the Athenians promoted from the 460s BC, and is enriched with an introduction by Vincent Azoulay and Paulin Ismard which will situate its contribution to history and its legacy.
Who invented Athens as the name of the Greek city? Answer: Athens. It should be added that this invention may have taken place in a cemetery in the 5th century. century
before our era. To the citizens who fell in combat, these elite dead, the community
The Athenian woman offers a public funeral and a speech; the earth covers the bones, the funeral oration speaks to the living, exalting the city for the benefit of the citizens, the Greeks, and posterity. And this is how Athens, everyone can see, whether they are happy or angry, has, for a long historical tradition, become the City.
In the topos of the “beautiful death,” that of the citizen-soldier, time stands still.
Men die, glory is theirs because the city remains, source of all
memory, of all value. Athens gains a noble essence, but it loses a
language to express democracy, this novelty of which discourse makes an origin
immemorial, this audacious regime presented in the funeral oration as a
aristocracy of merit. Enough to call into question the well-established idea that
Greeks would have ignored what we call the dominant ideology.
before our era. To the citizens who fell in combat, these elite dead, the community
The Athenian woman offers a public funeral and a speech; the earth covers the bones, the funeral oration speaks to the living, exalting the city for the benefit of the citizens, the Greeks, and posterity. And this is how Athens, everyone can see, whether they are happy or angry, has, for a long historical tradition, become the City.
In the topos of the “beautiful death,” that of the citizen-soldier, time stands still.
Men die, glory is theirs because the city remains, source of all
memory, of all value. Athens gains a noble essence, but it loses a
language to express democracy, this novelty of which discourse makes an origin
immemorial, this audacious regime presented in the funeral oration as a
aristocracy of merit. Enough to call into question the well-established idea that
Greeks would have ignored what we call the dominant ideology.