Studying and Teaching “Law As Rhetoric”: a Place to Stand
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6 X 10.Three Lines .P65
Cambridge University Press 978-0-521-51530-6 - Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages Edited by Mary Carruthers Index More information Index Abelard, Peter 133, 160, 174, 250–1, 275 and ductus 215, 216, 228, 239–43 Commentaria in Epistolam Pauli ad and memory 215–16, 231, 233, 239–43 Romanos 252–4 and scholasticism 20–8 Commentary on Boethius’ De differentiis arrangement (dispositio) in 36–8, 229–30 topicis 202, 251 as concept in rhetorical discourse 4, 26, 27, Easter liturgy for Paraclete 256–63 32, 190–1 Letter 5 257–8 borrows rhetorical vocabulary 4, 7, 36–7 on rhetoric 202, 251–63 compared to poetry 26, 190–1 accent see inflection Aristotle 24–5, 131 Accursius (Bolognese jurist) 125 influence of Physics and Metaphysics Ackerman, James S. 40 21–2, 24–5 acting 161–3, 166–7 on epistēmē, téchnē and empeiría 1–2 compared to oratory 10, 127, 157–8 on ethos, logos and pathos 7 masks and 158–9 Rhetoric 2, 7, 36, 127, 128 actio see delivery theory of causality 21–2, 24–5 Adam of Dryburgh (Adam Scot), De tripartite Topics 202 tabernaculo 233, 242 Arnulf of St Ghislain 65 Aelred of Rievaulx (abbot) 124, 133–5 arrangement (dispositio) De spiritali amicitia 134 and ductus 196, 199–206, 229–30, 263 agency as mapping 191–2 of audiences 2, 165–6 Geoffrey of Vinsauf on 190–2 of ductus 199–206 in architecture 36–8, 229–30 of roads 191 personified as ‘Deduccion’ 205–6 of the work itself 201–2 Quintilian on 4, 230 shared by composer and performer 88 see also consilium; ductus; maps, mapping; Agrippa (Roman emperor) 281–3 -
Rhetorik Und Aufmerksamkeit. Die Fünf Officia Oratoris (PDF)
Rhetorik und Aufmerksamkeit. Die fünf officia oratoris (Melanie Möller, FU Berlin) Terminologie der Aufmerksamkeit: • gr. : προσέχειν (τòν νοῦν) • attendere, intendere, contendere, (tendere) • anim(um) advertere • erigere, incitare, excitare, movere • videre, audire • observare, intueri Dialogi Berolinenses 2018: „Rhetorik und Aufmerksamkeit“ (Melanie Möller) 2 Rezeptionshaltungen: benivolus, attentus, docilis Prozess der „Interattention“ (B. Waldenfels, Phänomenologie der Aufmerksamkeit, Frankfurt a.M. 2004) Dialogi Berolinenses 2018: „Rhetorik und Aufmerksamkeit“ (Melanie Möller) 3 officia oratoris/partes rhetorices inventio „Auffindung“ dispositio „Anordnung“ elocutio „Vertextung“ memoria „Auswendiglernen“ (Mnemotechnik) actio/pronuntiatio „Vortrag“ Dialogi Berolinenses 2018: „Rhetorik und Aufmerksamkeit“ (Melanie Möller) 4 inv. 1, 9: partes autem eae, quas plerique dixerunt, „Die Teile aber sind diejenigen, die die meisten inventio, dispositio, elocutio, memoria, angeführt haben: Auffindung, Anordnung, pronuntiatio. inventio est excogitatio rerum stilistische Durchformung, Auswendiglernen, verarum aut veri similium, quae causam Vortrag. Beim ‚Auffinden‘ handelt es sich um das probabilem reddant; dispositio est rerum Ersinnen wahrer oder wahrheitsähnlicher inventarum in ordinem distributio; elocutio est Gegebenheiten, die den Fall plausibel machen idoneorum verborum ad inventionem sollen; unter ‚Anordnung‘ verstehen wir die accommodatio; memoria est firma animi rerum Verteilung der aufgefundenen Argumente auf ac verborum ad inventionem -
Oratoria, Retórica, Oralidad
[Publicado en Oralia. Análisis del discurso oral, 2, 1999, pp. 7-25.] RETÓRICA Y ORALIDAD TOMÁS ALBALADEJO Universidad Autónoma de Madrid 1. RETÓRICA Y ORATORIA EN RELACIÓN CON LA ORALIDAD. La retórica nació como técnica de la construcción y comunicación oral de discursos lingüísticos con la finalidad de influir en los oyentes. La relación de la retórica con la oralidad es evidente desde sus orígenes y está apoyada por las denominaciones mismas que han recibido históricamente los distintos componentes de la comunicación retórica: 'rhétor' es la palabra que designa en griego al orador, 'akroatés' es el oyente y 'lógos', relacionado con 'légo' ('decir'), es el discurso. 'Rhétor' es traducido al latín por 'orator', 'akroatés' por 'auditor' y 'lógos' por 'oratio'. Por su parte, el nombre griego de la disciplina, 'tékhne rhetoriké', es traducido al latín por 'ars oratoria'. De este modo, 'tékhne rhetoriké' y 'ars oratoria', así como los sustantivos españoles 'retórica' y 'oratoria', funcionan como expresiones equivalentes. La retórica es definida por Quintiliano como «ars bene dicendi» (Quintiliano Institutio oratoria: 2, 17, 27), como arte o técnica de hablar bien, con la consiguiente asociación a la oralidad. La relación entre retórica y oralidad se hace patente en la expresión latina y española 'oratoria'. Sin embargo, las inicialmente equivalentes expresiones 'retórica' y 'oratoria' presentan una divergencia en la medida 2 en que el término 'retórica' se ha ido especializando para la configuración teórica de la técnica del discurso lingüístico persuasivo y 'oratoria' se ha concretado en la práctica comunicativa oral propia de esa técnica, si bien se trata de una divergencia que no es absoluta, pues pueden encontrarse empleos de 'retórica' y de 'oratoria' como sinónimos. -
Shadows and the Substance of Shakespearean Drama
Shadows and the Substance of Shakespearean Drama by Janine Harper A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Janine Harper 2018 Shadows and the Substance of Shakespearean Drama Janine Harper Doctor of Philosophy Department of English University of Toronto 2018 Abstract England in the late sixteenth and early seventeenth centuries was the stage for explorations of the physics of light and its representation in art. Although much critical attention has been paid to this interest in light, there has not yet been sufficient attention to the concurrent fascination with its absence as epitomized by shadows. I argue in this dissertation that the phenomenon of the shadow existed as a powerful trope for artistic and literary expression in the period; I conceive of the Renaissance shadow not, however, just as a figure of negativity or privation, but also as one of doubling and of excess in English usage. My study identifies three prominent and interconnected senses of shadows that are of special importance to Renaissance dramatists such as Shakespeare, Francis Beaumont and John Fletcher, Richard Brome, and John Webster. I investigate debates surrounding the nature of the “shades” of ghosts, familiars, and other supernatural phenomena as they are discussed by natural scientists and demonologists, and as they are staged in Hamlet, Macbeth, and The Late Lancashire Witches. The problems of imitation, subordination, and spectrality that haunt these plays also figure in staged relations of social “shadowing” that obtain between speakers and mediators in Measure for Measure and The Merchant of ii iii Venice, and between masters and servants in The Tempest and The Duchess of Malfi. -
Imagining the Words of Others: Public Memory and Ceremonial Repetition in American Public Discourse
IMAGINING THE WORDS OF OTHERS: PUBLIC MEMORY AND CEREMONIAL REPETITION IN AMERICAN PUBLIC DISCOURSE A Dissertation by ADAM JOEL GAFFEY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, James Arnt Aune Committee Members, Leroy Dorsey Jennifer Jones Barbour C. Jan Swearingen Head of Department, J. Kevin Barge May 2013 Major Subject: Communication Copyright 2013 Adam Joel Gaffey ABSTRACT Rhetorical analyses of collective memory study how perceptions of a shared past are maintained through public texts. This analysis explores an alternative relationship between rhetoric and remembrance. Rather than study the textual form of public memory alone, I argue that communities actively interpret artifacts of public discourse as public memory. The most enduring form of this practice is ceremonial repetition, or the deliberate recitation of a text during moments of communal observance. When performed effectively, ceremonial repetition imagines a text by highlighting a resonant virtue through public reading. Such strategies to mold the meaning of a text occur through a variety of messages adjoining recitation, such as formal speech, visual display, written testament, or spatial and bodily enactment. Ceremonial repetition illustrates the extensional evolution and legacy of speech in the public imagination. In a range of historically grounded case studies, this work explores the effectiveness and dominant strategies of ceremonial repetition -
Nathaniel Hawthorne's
Reading literature rhetorically in education: Nathaniel Hawthorne’s ‘The Prison-Door’ as an exercise in close reading Magnus Ullén, Karlstad University Abstract Despite the many historical links between literature and rhetoric, teachers of literature have made relatively few attempts to draw on rhetoric for teaching purposes. The present article suggests how this may be done, and argues for the pedagogical benefits of taking a rhetorical approach to literature. By means of a close reading of the first chapter of Nathaniel Hawthorne’s The Scarlet Letter, I demonstrate how a text may be systematically explored through the five steps (partes) of the classical rhetorical process. In conclusion, it suggests that rhetoric may be a means to bridge the gap between the many facets of English as a second language subject, as rhetoric provides a holistic framework allowing us to study literature and culture as language, and vice versa. Keywords: rhetoric, literature, English education; Hawthorne 1. Introduction Rhetoric and literature have been deeply associated throughout Western history. It is commonly held that it is only toward the end of the eighteenth century that this long-standing association begins to break down (Gossman 1990: 228). While the link between the two disciplines has never been completely disowned, rhetoric and literature have come to be seen as contrasting rather than complimentary practices, and as a rule organized as distinct departments in the academy.1 The consequence of this division is the curious separation of what might reasonably be seen as one subject into two separate ones: Literary departments typically 1 From a “neo-sophistic” (Walker 2000: xi) perspective, Jeffrey Walker calls on us to “rethink some key assumptions on which our histories of rhetoric have traditionally been based” (3), such as “that poetic, epideictic, or ‘literaturized’ forms of rhetoric are ‘secondary,’ derivative manifestations” (4) of a primary civic rhetoric. -
MIAMI UNIVERSITY the Graduate School Certificate for Approving The
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Kerrie Lehman Carsey Candidate for the Degree: Doctor of Philosophy ________________________________ Director (Kate Ronald) _________________________________ Reader (Heidi McKee) _________________________________ Reader (James Porter) __________________________________ Graduate School Representative (Michael Pechan) ABSTRACT DELIVERING FAITH: TOWARD A NEW THEORY OF DELIVERY IN THE CONTEXT OF PREACHING by Kerrie Lehman Carsey This dissertation redefines delivery, the fifth canon of rhetoric, examining its traditionally low status in the field of rhetorical theory and employing the ancient art of preaching to reclaim delivery as a valuable site of persuasion. Throughout rhetorical history, the fifth canon has met strong and consistent denigration as mere ornament, or worse, a tool of manipulation. Its physical, noetic, and emotional elements render delivery resistant to classification and a unified theory for instruction. Even those who uphold delivery’s importance to the art of rhetoric, such as Cicero, seem to privilege invention as the dominant realm of persuasion. My work uses preaching as a lens, striving for a better understanding of how delivery, from the politicized space of the pulpit, functions in this genre of religious discourse. I argue that in the context of the live speech event, consideration of the speaker’s ethos, or character presentation, can best deepen our understanding of the effects of delivery upon an audience. As a rhetorical art, preaching offers fertile ground to study character presentation in the oratorical performance, and the ways delivery fosters assent and works to define group identity. Case study research at a Protestant church, involving taping sermons, interviews with the preacher, and focus group discussions with congregants explores the relational nature of delivery in discourse communities. -
Rhetoric: Some Definitions (Note That One of These Things Is Not Like the Others…)
Rhetoric: Some Definitions (note that one of these things is not like the others…) Gorgias: Persuasion by speech is like abduction by force. And: “The power of speech [logos] over the constitution of the soul can be compared with the effect of drugs on the bodily state: just as drugs by driving out different humours from the body can put an end either to the disease or to life, so with speech: different words can induce grief, pleasure or fear; or again, by means of a harmful kind of persuasion, words can drug and bewitch the soul.” Socrates/Plato: “Rhetoric” is “an art of guiding the soul by means of words” (technê psychagôgia tis dia logôn) in any kind of discourse (Phaedrus) Aristotle: Rhetoric is an antistrophes to dialectic. “Let rhetoric [be defined as] an ability [dynamis], in each [particular] case, to see the available means of persuasion.” “Rhetoric is a counterpart of dialectic” — an art of practical civic reasoning, applied to deliberative, judicial, and “display” speeches in political assemblies, lawcourts, and other public gatherings. Cicero: "Rhetoric is one great art comprised of five lesser arts: inventio, dispositio, elocutio, memoria, and pronunciatio." Rhetoric is "speech designed to persuade." Rhetoric is a general art of speech that joins “wisdom and eloquence” (sapientia et eloquentia), and that ranges over the whole realm of human concerns, but applies especially to practical civic discourse. Quintillian: "Rhetoric is the art of speaking well." Actually, it’s “the good man speaking well.” George Campbell: [Rhetoric] is that art or talent by which discourse is adapted to its end. -
Degree Thesis Teacher Education (Upper Secondary School), 300 Credits
Degree Thesis Teacher Education (Upper secondary school), 300 credits Oral presentations in a first and second language A case study of student and teacher perspectives on the work process during oral presentations following the five canons of rhetoric English for Students in Teacher Education, 15 credits Halmstad 2021-06-10 Harald Fried, Nils Lundberg HALMSTAD UNIVERSITY ABSTRACT This case study examines the potential differences in the performance level of oral presentations between a student’s L1 and L2 and how teachers can best help to improve students’ ability to perform in the two languages. The aim of this essay is to provide teachers with a mapped diagnostic of differences in the support that students require in the stages of working with oral presentations. The collected data are based on a questionnaire distributed to 32 students and qualitative semi-structured interviews with four volunteering students from the researched classes. The results indicate that students generally perceive a higher difficulty level of preparing and performing an oral presentation in their L2 as compared to their L1 for all stages of the work process. The interviewed teacher did not acknowledge this discrepancy between languages, nor did she recognise the students’ varying experiences regarding difficulty between the different stages. Both students and the teacher recognise the initial step of the work process as demanding of teacher guidance, however, the divergence is present concerning the other stages. All things considered, it was concluded that teacher and student perceptions of the perceived difficulty and support needs differ and therefore adequate teaching cannot be applied under these conditions. -
Retórica Hoy
TOMÁS ALBALA.DEJO, FRANCISCO CHICO RICO y EMILIO DEL RÍO SANZ (Eds.) RETÓRICA HOY TEORÍA/CRÍTICA TEORÍA/CRÍTICA Revista publicada por el Seminario de Teoría de la Literatura y Literatura Comparada de la Universidad de Alicante Directores: Pedro Aullón de Haro Francisco Chico Rico ]efe de Redacción: Belén Saiz Noeda Secretaría: Helena Establier Pérez Virgilio Tortosa Garrigós Correspondencia editorial e intercambio científico: TEORÍA/CRÍTICA. Seminario de Teoría de la Literatura y Literatura Comparada. Facultad de Filosofía y Letras. Universidad de Alicante. Apdo. de Correos 99. E-03080 Alicante. Pedidos y distribución: Editorial VERBUM. Eguilaz, 6, 22 . E-28010 Madrid. Teléf.: 914468841. Fax: 915944559. Diseño de la cubierta: ADELA MORÁN Este volumen ha sido editado con la ayuda económica del Área de Teoría de la Literatura del Departamento de Lingüística, Lenguas Modernas, Lógica y Filosofía de la Ciencia de la Universidad Autónoma de Madrid. Depósito Legal: A-1.114-1994 I.S.S.N.: 1134-9018 Fotocomposición e impresión: Compobell, S.L. Murcia LA lNTELLECf!O EN LA SERIE DE LAS OPERACIONES RETóRICAS NO CONSTITUYENTES DE DISCURSO Tomás Aibaladejo Francisco Chico Rico l. A partir de la recensión de textos históricos de teoría retórica como las Institutiones oratoriae de Sulpicio Víctor y el De rhetorica liber de Aurelio Agustín y de acuerdo con el principio de recuperación del pensa miento histórico (García Berrio, 1979a: 262; 1984: 9; 1989: 16 ss.; 1990) que preside algunas de las más actuales, comprometidas y responsables orien taciones retóricas, el modelo constituido por las cinco operaciones retóri• cas tradicionalmente establecidas se ha visto incrementado con la inclusión de la especial operación de inte!lectid y con su consiguiente articulación 1 Sulpicío Víctor escribe: . -
John Wesley Phd Thesis
MULCASTER'S BOYS : SPENSER, ANDREWES, KYD John Wesley A Thesis Submitted for the Degree of PhD at the University of St Andrews 2008 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/602 This item is protected by original copyright This item is licensed under a Creative Commons License Mulcaster’s Boys: Spenser, Andrewes, Kyd By JOHN WESLEY Submitted for the degree of Doctor of Philosophy SCHOOL OF ENGLISH UNIVERSITY OF ST ANDREWS 2008 Abstract Although it is generally acknowledged that an Elizabethan grammar school education was intensely oral and aural, few studies have approached the literature of its pupils principally in light of such an understanding. There may be good reason for this paucity, since the reading of textual remains in the hopes of reconstituting sound and movement—particularly in non-dramatic literature—will always, in the end, be confronted by an inaudible and static text. Yet for the Elizabethan schoolboy, composition and performance were inseparable, whether of an epistle, a theme, or a translation of Latin poetry. The purpose of this project is firstly to describe the conditions which led to and ingrained that inseparability, and then offer some readings of the poetry, oratory, and drama of those whose voices and pens were trained in the grammar school, here Merchant Taylors’ School in 1560s London. Edmund Spenser, Lancelot Andrewes, and Thomas Kyd all attended Merchant Taylors’ in this period, and their poetry, sermons, and drama, respectively, are treated in the following discussion. -
Amplification As Gloss in Two Twelfth-Century Texts
Amplification as gloss in two twelfth-century texts: Robert de Boron's Joseph d'Arimathie and Renant de Beanjeu's Li Biaus Descouneiis A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in French in the University of Canterbury by Joanne Rittey University of Canterbury 1998 5 Abstract Where does a literary text originate and how is it fonned? What are the influences at work on the writer as he produces his work and can these be perceived by the audience or reader? The focus of this study is the literary process which took place when a medieval writer wrote. This is conducted with reference to two texts representative of the period around the end of the twelfth century to the beginning of the thirteenth century: Robert de Boron's Joseph d'Arimathie and Renaut de Beaujeu's Li Biaus Descouneus. The vocabulary which I have chosen in order to approach these questions, notably antancion, gloser la lettre and the technique of amplification, highlight the awareness of fiction, or fictional creation, called for by these writers. Both Robert and Renaut are builders of stories, elucidating and expanding the material at their disposal. The original idea is conceived in the poet's mind. This is then the starting point for a construction which relies on the combination of learned literary tradition with its patterns and codes and the wealth of material derived from antecedent sources. This study demonstrates that this seemingly artificial construct is individualised through the application of poetic antancion. Despite evidence of extensive borrowing from a number of different sources, both Robert and Renaut can be credited with producing texts which exhibit an authorial perspective which departs from the original source and take a new direction.