Liturgy Avoidance and Antidosis in Classical Athens

Christ, Matthew R.

doi:10.2307/283983

Cited by 73 publications

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“…Claims of liturgical services are characteristic of what Carter (99-130) calls "Rich Quietists," done both for honor and for insurance against conviction in court. See also Christ (1990). 2 Unless otherwise indicated, all translations are my own and are based upon the Greek text of the Antidosis in the Budd edition (vol.…”

Section: Creating a Unitymentioning

confidence: 99%

Mixed unities in theAntidosisof Isocrates

Papillon

1997

Rhetoric Society Quarterly

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Section: Creating a Unitymentioning

confidence: 99%

Mixed unities in theAntidosisof Isocrates

Papillon

1997

Rhetoric Society Quarterly

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“…From these data he infers "that for much of the fourth century spending of this sort did not have its former political importance; not because men could not spend on this sort of scale ... but because the men who could so spend chose not to do so" [p. 1031. Authors that support or expand Davies's argument include Christ [1990, 148-511, Hansen [1991, 268-771, Rhodes [1986, 136441, Sinclair [1988, and Strauss [1986, 11411. 264…”

Section: Interests Of the Wealthy Atheniansmentioning

confidence: 99%

Public Munificence for Private Benefit: Liturgies in Classical Athens

Carmichael

1997

Economic Inquiry

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Liturgies or public services became less eficient as a source of state revenue in Classical Athens over the democratic period. This is illustrated in a model in which each citizen, knowing his own wealth and the probability distribution of the visible wealth of others, can engage in costly wealth concealment to improve his chances of avoiding a liturgy. Relative to a wealth tax, liturgies are efJicient as long as their perjorrners can acquire sufficient private benefits through public munijicence. The observed decline in these benepts over the democratic period reduced or eliminated this relative eflciency. (JEL N43, H26, H41)

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“…On liturgies, and elite attitudes, see Ober 1989, Christ 1990. On liturgies, and elite attitudes, see Ober 1989, Christ 1990.…”

Section: Cf the Similar Images Of Ajax's Followers (Soph Ajaxmentioning

confidence: 99%

Brilliant Dynasts: Power and Politics in the "Oresteia"

Griffith¹

1995

Classical Antiquity

191

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 142.58.129.109 on Sun, IT IS A TRUISM that the peak period of Greek tragedy coincides precisely with the most glorious and successful years of Athenian democracy. Virtually all the surviving plays of Aeschylus, Sophocles, and Euripides were written and produced in Athens, and all date from the years between the defeat of the second Persian expedition in 479 BCE and the catastrophic end of the Peloponnesian War in 404.Nor does this coincidence seem to be merely accidental: tragOidia is transparently more "democratic" as an art form, in its audience and occasion, its structures and conventions, even to some degree its language and meters, than both the epic and the various other kinds of choral and individual lyric, or iambic, that we know of. That is to say, Attic tragedy is an art form that, within and beneath its mythological and grandiose trappings, its bizarre stories of gods and Bronze Age royal families, is designed to appeal to a mass citizen audience, and to explore some of their fundamental concerns.'In recent years, attention has focused on the ways in which the festival of the City Dionysia, and in particular its dramatic performances, were used to display This article began as a lecture given at the University of Missouri in March 1994. A truncated version was read in December 1994 at the APA meeting in Atlanta. I am grateful to members of both audiences for comments and encouragement. I should also like to thank the members of my Aeschylus seminar at Berkeley (Spring 1993), and a number of friends and colleagues, for their constructive criticisms: especially Erik Gunderson, Leslie Kurke, Donald Mastronarde, Victoria Wohl, and two unusually attentive and helpful anonymous referees. None of these should be held responsible for any mistakes, silly ideas, clumsy expressions, or long-windedness that may remain, though I have tried hard to heed their advice on all these scores.1. An infinitude of modern studies could be cited in support of these "truisms": a few repre sentative specimens must suffice. GRIFFITH: Brilliant Dynasts 63 the cultural riches of the city, both to the Athenians themselves and to hundreds of distinguished visitors from the rest of Greece;2 and critics have emphasized the function of these performances as opportunities to examine and (re)define Athenian "civic ideology"-what it means to be a Greek, a male, a citizen, an Athenian.3 In other cities, the most exciting and rich poetical occasions seem to have been the choral productions commissioned privately by individual tyrants or leading families, for the cult celebrations, athletic victories, or other special occasions for which they were responsible; high cultural status ...

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Liturgy Avoidance and Antidosis in Classical Athens

Cited by 73 publications

References 0 publications

Mixed unities in theAntidosisof Isocrates

Mixed unities in theAntidosisof Isocrates

Public Munificence for Private Benefit: Liturgies in Classical Athens

Brilliant Dynasts: Power and Politics in the "Oresteia"

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