Practicing the Ancient Art of Memoria in the Modern Classroom
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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 -
The Pulpit & the Memory Palace
Copyright by Ryan Tinetti 2019 !iii THESIS ABSTRACT The following thesis considers the benefits of classical rhetoric for contemporary preaching, with special reference to the classical memorization technique known as the method of loci (or Memory Palace). The goal for this research is to discern how the method of loci can help pastors to “preach by heart,” that is, to internalize the sermon such that they can preach it without notes as though it were an extemporaneous Spirit- prompted utterance. To this end, the thesis is structured around two parts. Following an Introduction that sets out the practical challenges to preaching by heart that attend many pastors, Part 1 provides a survey of classical rhetoric, especially the so-called “modes of persuasion” and “canons of rhetoric,” before then turning specifically to the canon of Memoria (“memory”) and its concomitant practice of the Memory Palace. Part 2 applies the insights of the first part to the process of sermon preparation more broadly, and then walks through the practice of the Memory Palace for preaching in particular. A Conclusion recapitulates the argument and demonstrates the method of loci in practice. !iv To Anne, who knows me by heart !v TABLE OF CONTENTS Abstract iv Acknowledgements vii Introduction: Preaching by Heart 1 Part 1: Classical Rhetoric and the Method of Loci 22 Chapter 1: An Overview of Classical Rhetoric 23 Chapter 2: Memoria and the Method of Loci 43 Part 2: Contemporary Preaching and the Memory Palace 64 Chapter 3: Applying Classical Rhetoric to Sermon Preparation 65 Chapter 4: Constructing the Memory Palace 79 Conclusion: At Home in the Word 104 Bibliography 122 Biography 127 !vi ACKNOWLEDGMENTS To complete a project such as this thesis is to create a profound sense of indebtedness and gratitude to the many people who made it possible. -
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. -
Elevator Pitch
MONOGRÁFICO Círculo de Lingüística Aplicada a la Comunicación ISSN: 1576-4737 https://dx.doi.org/10.5209/clac.66597 Rhetorical Analysis of a Discourse Model in the Business World: Elevator Pitch Javier de Santiago-Guervós1 Recibido: 14 de noviembre de 2019 / 24 de noviembre de 2019 Abstract. This paper proposes an analytical model for entrepreneurial pitches based on the five canons of rhetoric (i.e. invention, arrangement, style, memory and delivery), through the de- construction of the text from the discursive act itself (as conceived in the invention phase) to its actual production (i.e. delivery). The questions this methodology attempts to answer are why the pitch may be persuasive and how that persuasion is achieved by analyzing its discursive and linguistic characteristics; what ethical, rational or emotional arguments are appealed to; who the potential audience is, and what other multimodal resources are used to support the persuasive force of the text. In order to answer these questions, two pitches in Spanish are deconstructed and conclusions regarding their efficacy are drawn. Key words: Persuasion; rhetoric; discourse analysis. [es] Análisis retórico de un modelo de discurso en el ámbito comercial: Elevator Pitch Resumen. En este trabajo se propone un modelo analítico para un tipo de discurso comercial (Elevator Pitch) basado en los cinco cánones de la retórica clásica (inventio, dispositio, elocutio, memoria y actio). Partiendo de dos discursos opuestos desde el punto de vista de su eficacia, se pretende deconstruir el texto para comprender las razones del logro persuasivo (o de su fracaso) analizando sus características discursivas y lingüísticas desde el mismo momento de la planificación (estudio del destinatario, argumentos, etc.) hasta la puesta en escena pasando por una selección léxica (elocutio) perfectamente estudiada que pretende estimular marcos cognitivos de interpretación que apoyan la propia argumentación en favor de la persuasión del interlocutor. -
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. -
TOWARD a THEORY of RHETORICAL MEMORY By
Reclaiming Memoria for Writing Pedagogies: Toward a Theory of Rhetorical Memory Item Type text; Electronic Dissertation Authors Kennedy, Tammie Marie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 10:30:27 Link to Item http://hdl.handle.net/10150/193644 RECLAIMING MEMORIA FOR WRITING PEDAGOGIES: TOWARD A THEORY OF RHETORICAL MEMORY by Tammie M. Kennedy Copyright © Tammie M. Kennedy 2009 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN RHETORIC, COMPOSITION, AND THE TEACHING OF ENGLISH In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Tammie M. Kennedy entitled Reclaiming Memoria for Writing Pedagogies: Toward a Theory of Rhetorical Memory and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. Date: October 31, 2008 Roxanne Mountford Date: October 31, 2008 Thomas P. Miller Date: October 31, 2008 Adela Licona Date: October 31, 2008 Krista Ratcliffe Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. -
Between Grammar and Rhetoric Poetria Nova and Its Educational Context in Medieval and Renaissance Italy
Le poetriae del medioevo latino Modelli, fortuna, commenti a cura di Gian Carlo Alessio e Domenico Losappio Between Grammar and Rhetoric Poetria nova and Its Educational Context in Medieval and Renaissance Italy Robert Black (The University of Leeds, UK) Abstract This paper examines the context of Geoffrey of Vinsauf’s Poetria nova and of its manu- scripts and commentaries in medieval and Renaissance Italy. It is well known that, in Italy, gram- mar (Latin language and literature) was the concern of elementary and mainly secondary schools, whereas rhetoric was primarily a university subject (although basic introductory rhetoric also figured at the end of the secondary-school curriculum). There is little direct (and scant indirect) indica- tion that Poetria nova was taught in Italian universities, but abundant evidence that it was used in schools. Such a school (as opposed to university) context suggests that Poetria nova was primarily used in teaching grammar, not rhetoric, in medieval and Renaissance Italy. The most important use of the text was teaching prose composition: how to vary sentences beyond the simplest wording and structure of subject-verb-predicate (suppositum-appositum) initially learned by grammar pupils, i.e. moving from ordo naturalis to ordo artificialis. Marjorie Curry Woods has written, “although there is growing evidence that the Poetria nova was used to teach the composition of prose, and especially, letters, throughout Europe, it is almost always copied with verse texts, often classical works, in Ital- ian manuscripts, which suggests that it was also used there to teach the interpretation of literary texts”. But there is little sign that Geoffrey of Vinsauf was cited in Italian literary manuscripts during the fourteenth and fifteenth centuries: in my study of manuscript schoolbooks preserved in Flor- entine libraries, there are 98 in which authorities are explicitly cited. -
Studying and Teaching “Law As Rhetoric”: a Place to Stand
Scholarly Commons @ UNLV Boyd Law Scholarly Works Faculty Scholarship 2010 Studying and Teaching “Law as Rhetoric”: A Place to Stand Linda L. Berger University of Nevada, Las Vegas -- William S. Boyd School of Law Follow this and additional works at: https://scholars.law.unlv.edu/facpub Part of the Legal Education Commons, Legal Writing and Research Commons, and the Other Law Commons Recommended Citation Berger, Linda L., "Studying and Teaching “Law as Rhetoric”: A Place to Stand" (2010). Scholarly Works. 664. https://scholars.law.unlv.edu/facpub/664 This Article is brought to you by the Scholarly Commons @ UNLV Boyd Law, an institutional repository administered by the Wiener-Rogers Law Library at the William S. Boyd School of Law. For more information, please contact [email protected]. STUDYING AND TEACHING "LAW AS RHETORIC": A PLACE TO STAND Linda L. Berger* The first of these [attacks on rhetoric], the attack from above, argues for a politics of reason whose indisputable truths can only be obscured by the rhetorician's passionate appeals. This is the position that Socrates defends. The second, the attack from below, insists that the rhetorician's invocation of truth and justice is a sham, a technique for gaining power whose success requires that its practitioners either fail to understand what they are doing or deliberately conceal it. This is the line of attack forcefully pressed by Callicles ..... Gorgias stands between these two, between Socrates and Callicles, and the question is, does he have any ground on which to stand? Does the craft of rhetoric have a separate and legitimate place in human life, in between pure reason and pure power?' INTRODUCTION As they begin law study, students "undergo a linguistic rup- ture, a change in how they view and use language." 2 The change affects not only their understanding of language use, but also 3 their ideas about how the law works and its place for them. -
Visualizing Words and Knowledge: Arts of Memory from the Agora to the Computer
Syracuse University SURFACE Dissertations - ALL SURFACE May 2015 Visualizing Words and Knowledge: Arts of Memory from the Agora to the Computer Seth D. Long Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Arts and Humanities Commons Recommended Citation Long, Seth D., "Visualizing Words and Knowledge: Arts of Memory from the Agora to the Computer" (2015). Dissertations - ALL. 222. https://surface.syr.edu/etd/222 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT This dissertation examines rhetoric’s fourth canon—the art of memory—tracing its development through the classical, medieval, and early modern periods. It argues that for most of its history, the fourth canon was an art by which words and knowledge were remediated into visual, spatial forms, either in the mind or on the page. And it was this technique of visualization, I argue, that linked the canons of memory and invention throughout history. In contemporary rhetorical theory, however, memory palaces and mnemonic imagery have been replaced with a conception of memory grounded in psychology and critique. I argue that this move away from memory as an artificial practice has obscured the classical art’s visual precepts, consequently severing the ancient link between memory and invention. I suggest that contemporary rhetorical theorists should return to visualization to revitalize the fourth canon in the twenty-first century. Today, digital tools that visualize words and knowledge are ubiquitous. -
The Art of Memory
FRANCES YATES Selected Works Volume III The Art of Memory London and New York FRANCES YATES Selected Works VOLUME I The Valois Tapestries VOLUME II Giordano Bruno and the Hermetic Tradition VOLUME III The Art of Memory VOLUME IV The Rosicrucian Enlightenment VOLUME V Astraea VOLUME VI Shakespeare's Last Plays VOLUME VII The Occult Philosophy in the Elizabethan Age VOLUME VIII Lull and Bruno VOLUME IX Renaissance and Reform: The Italian Contribution VOLUME X Ideas and Ideals in the North European Renaissance First published 1966 by Routledge & Kcgan Paul Reprinted by Routledge 1999 11 New Fetter Lane London EC4I' 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Croup © 1966 Frances A. Yates Printed and bound in Great Britain by Antony Rowe Ltd, Chippenham, Wiltshire Publisher's note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original book may be apparent. British Library Cataloguing in Publication Data A CIP record of this set is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book has been requested ISBN 0-415-22046-7 (Volume 3) 10 Volumes: ISBN 0-415-22043-2 (Set) Hermetic Silence. From Achilles Bocchius, Symbolicarum quaestionum . libri quinque, Bologna, 1555. Engraved by G. Bonasone (p. 170) FRANCES A.YATES THE ART OF MEMORY ARK PAPERBACKS London, Melbourne and Henley First published in 1966 ARK Edition 1984 ARK PAPERBACKS is an imprint of Routledgc & Kcgan Paul plc 14 Leicester Square, London WC2II 7PH, Kngland. -
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.