By A. J. Koster
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Extra info for A practical guide for the writing of the Greek accents
68 More generally we will be faced with the problem of making sense of the contest of voices, as either setting up rival positions in which a space opens up in-between, thereby allowing ‘dialogue’ to take place between the text and its reader,69 or else constructing an opposition in which one position is clearly favoured over another. The nexus between dissent and authority, and the tension between ideals of openness and its ﬁction; the shifting forms, parameters and locations of debate; and the importance of framing debate by both its internal agents and external author, all provide the methodological framework that underpins this book.
72 See Ch. 1, conclusion. 73 See Act III. 22 Prologue (for the most part) avoids intrusive personal comment. 75 The data collected here are presented according to two types of organizational principle. First, the book is divided into different Acts, which correspond to the different genre under investigation. Act I investigates scenes of debate in Homeric epic. It demonstrates that debate takes place within carefully codiﬁed parameters, marked by formulaic language, and indicating the presence of an institution, the assembly.
60 That is to say, Achilles’ act of placing goods ‘into the middle’ of the agon has symbolic value: it signiﬁes that the goods are no longer any one person’s property but are common to all and, as such, may be competed for and acquired. The idea of the agon as the place in which all-comers may enter to compete for the goods placed ‘in the middle’ has a clear application for this study; indeed, Jean-Pierre Vernant has expressly extended the concept of the centre, or meson, to thinking about debate.