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The name Antiphon the Sophist (/ ˈ æ n t ə ˌ f ɒ n,-ən /; Ancient Greek: Ἀντιφῶν) is used to refer to the writer of several Sophistic treatises. He probably lived in Athens in the last two decades of the 5th century BC, but almost nothing is known of his life.
The Interpretation of Dreams or Dream-book, [a] written by a certain Antiphon (Ἀντιφῶν) of Athens, is an influential ancient treatise on dreams, of which only a few fragments survive. It is not certain whether the Antiphon who wrote the treatise was the same figure as the Antiphon who wrote the Sophistic works of Antiphon , who is ...
Antiphon was a statesman who took up rhetoric as a profession. He was active in political affairs in Athens, and, as a zealous supporter of the oligarchical party, was largely responsible for the establishment of the Four Hundred in 411 (see Theramenes); upon restoration of the democracy shortly afterwards, he was accused of treason and condemned to death. [1]
A sophist (Greek: σοφιστής, romanized: sophistēs) was a teacher in ancient Greece in the fifth and fourth centuries BCE. Sophists specialized in one or more subject areas, such as philosophy, rhetoric, music, athletics and mathematics.
Antiphon 1: While the King Sitteth at His Table; Antiphon 2: His Left Hand Is Under My Head, and His Right Hand Doth Embrace Me; Antiphon 3: I Am Black but Comely, O Ye Daughters of Jerusalem; Antiphon 4: Lo, the Winter Is Past; Antiphon 5: How Fair and How Pleasant Art Thou; Ave Maris Stella 1: When the Salutation Gabriel Had Spoken
Antiphon (Ancient Greek: Ἀντιφῶν) of Athens, according to the Suda, was an interpreter of signs, epic poet and sophist, surnamed Logomageiros (Λογομάγειρος), which means both "Word-cook" and "Word-butcher". None of his works are extant, and he is only attested in the Suda.
Passengers on a flight to Los Angeles were left unsettled by an unexpected stowaway apparently hiding in the aircraft light fixtures after a set of paws ... In a viral video that has gained over ...
The antiphon, which was intended as processional music for the entrance of the bishop into the cathedral, was thus designed to be "majestic" and "ceremonial" in character. The work's "most enthralling feature" is "the antiphonal writing of Gabrielian grandeur" in bars 64–66. [ 1 ]