Epideictic memories of war: reconceiving the classical funeral oration as exigence-driven discourse

Epideictic discourse has been and remains an enigma in rhetorical studies. The concept has been considered from numerous perspectives, but praise and blame, the purposes Aristotle ascribed to his third genre, still remain pervasive in our understanding of it. Following scholars who have questioned how well Aristotelian definitions of the concept can explain epideictic discourse in antiquity (Chase, 1961; Duffy, 1983; Walker, 2000), these essays will examine the political functions of the classical funeral oration (Epitaphios Logos), a quintessentially epideictic form of rhetoric. To date, few studies (Hesk, 2013 is a notable exception) explore the influence of political exigencies that confronted the ancient orator when speaking in ceremonial contexts. Responding to the sparse treatment of the subject, this project applies close reading of two extant funeral orations from classical Athens to investigate the connection between funerary discourse the prosecution of war efforts. As a work of conceptually oriented criticism, it aims to add to, modify, or reconceive of the epideictic genre and illuminate aspects of the text and context of the speeches under study. I propose that Aristotle\u27s conception of epideictic is insufficient to explain the discourse of his contemporaries because it ignored the political ends ceremonial orators pursued, in particular, those of Demosthenes and Hyperides, two orators for whom we have extant texts of a funeral oration each delivered. By drawing on the works of modern rhetorical theorists including Chaïm Perelman, Lloyd Bitzer, and Kenneth Burke, I argue for a more fluid conception of the epideictic genre, one that is determined more by the immediate exigencies of the rhetorical situation than by the traditional tropes thought to govern the tradition

Overcoming the Digital Divide: The Story of an Urban Middle School

Access to appropriate technological resources in schools has become an issue, commonly labeled the “digital divide.” While the debate ensues in regards to an explicit definition for this phenomenon, research overwhelmingly demonstrates that students of marginalized populations remain on the lower end of access to and innovative use of current digital technologies. Accordingly, advocates of social justice point to the disparities of resources and quality learning opportunities experienced by students in poverty, including their exposure to dynamic technology integration in teaching and learning. This study narrates a five-year struggle to impact the digital divide on an urban middle school campus

The spatial aspects of musical taste:conceptualising consumers' place-dependent identity investments

Consumer research has largely left implicit the interrelationships of space and place with taste. This multi-sited ethnographic study explores how consumers enact, perform, and further develop their musical tastes via their aesthetic experiences in popular (indie) and classical music places. Our findings suggest that consumers create place-dependent identity investments, which unfold via a tripartite experiential process of manifesting habitus, undertaking habitation, and expressing idiolocality. Our study contributes to diverse streams of consumer research such as consumer behaviour, consumer culture theory, and experiential marketing, and opens up avenues for future research focused on the intersections of place with taste

The New Testament Teaches Planned Giving

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Spatial Authenticity and Extraordinary Experiences:Music Festivals and the Everyday Nature of Tourism Destinations

Research taking into account the everyday nature of tourism destinations and its impact upon authenticity and attendees’ resulting extraordinary experiences is limited. Drawing upon a three-year ethnography (including fieldnotes, photos/videos, artefact material) and interviews with festival attendees, we explore the interrelationships between authenticity and extraordinary experiences in the context of Primavera Sound music festival. Our emergent thematic categories – the festival’s indie music character, its urban and quotidian configuration, and the instrumental orientation of the festival experience – suggest the festival is firmly positioned within the structures of the indie music industry, while also being located within the confines of day-to-day urban life. Attendees seek to achieve a sense of spatial authenticity by engaging with the features of tourism destinations. We contribute to discussions about authenticity and extraordinary experiences by unpacking the everyday nature of tourism destinations, demonstrating that not all music festivals need to be “extraordinary” muddy camping events

Experiential marketing and the changing nature of extraordinary experiences in post-postmodern consumer culture

Prior experiential marketing research suggests that extraordinary consumption experiences take place within antistructural frames, i.e. outside the realms of everyday life. This paper challenges that notion, through an ethnographic study of consumers attending the Primavera Sound music festival in Barcelona, Spain. We demonstrate that festival attendees perceive their experiences to be extraordinary, despite these occurring within ‘everyday’ structural frames. Consumers’ extraordinary experiences unfold through their negotiation of a series of structural and antistructural marketplace tensions, including commercialism/authenticity, ordinary/escapist, and immersion/communing. We outline the theoretical implications of our research for the changing nature of extraordinary consumption experiences, in light of post-postmodern consumer culture. We conclude with managerial implications and provide suggested avenues for future research

Spatial taste formation as a place marketing tool:The case of live music consumption

Purpose - The aim of this paper is to explore how spatial taste formation and the interrelationships between place and taste can inform the development of contemporary place marketing and/or place management strategies. Design/methodology/approach - The paper draws on previous research conducted within the context of live music consumption and, in particular, within live musical spaces such as festivals and concert halls. Findings - Our study illustrates how spatial taste formation can inform the development of topographies of taste which focus on the creation of field-specific experiences. It also offers insights for understanding the phenomenological uniqueness of various places and the role of place users and other stakeholders in the creation of place marketing and branding value. Originality/value - We elaborate upon the potential usefulness of spatial taste formation for place management and marketing research practice and draw out implications for future research. We advance a holistic and phenomenological understanding of place which illustrates how users’ perceptions of place are shaped by their experiences in various places and by the interplay of these experiences with their individual tastes and vice versa

Musical taste and the creation of place-dependent capital:Manchester and the indie music field

Drawing on qualitative interviews with indie music fans in Manchester, UK, we explore how experiences in the indie music field inform spatial and place-specific understandings of musical taste. Inspired by Bourdieu’s sociology of taste, the concept of place-dependent capital incorporates the interplay of the experiential dimensions of taste, and the overall structures in which they are embedded. We develop our findings into three themes, which allow us to highlight the diversity of ways in which our participants create place-dependent capital: exploring the taste of place; dwelling in place; and creating a sense of place. We propose the usefulness of place-dependent capital as an alternative theoretical tool, which acknowledges both structural and experiential dimensions of musical taste, allowing us to demonstrate the situatedness of indie music fans’ tastes