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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. -
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. -
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. -
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. -
Poetic Invention and Translation in Sixteenth-Century England
Poetic invention and translation in sixteenth-century England Rocío G. Sumillera Universitat de València ABSTRACT This article investigates the connection between the all-important concept of invention within the literary terminology of sixteenth- century England and the perception of translation during this period. Invention is discussed as a concept in transition during the sixteenth century, as it was then still associated with the rhetorical notion of “finding” within a topical system, while new shades of meaning closer to imagination, fantasy, fancy and wit started to become dominant even in rhetorical contexts. Invention was deemed in the sixteenth century a necessary ingredient for outstanding poetry, and yet it was assumed to be absent from the work of the translator, whose role was solely to copy the invention of the source text. This article claims that the lack of invention in translations (or rather, the mere following of the invention of the translated text) was the main reason why translations were invariably regarded as minor achievements as compared to their source texts. KEY WORDS : Invention, Renaissance English and French poetics, Renaissance translation, imitation. Poetic invention and translation in sixteenth-century England The term invention had a wide range of meanings in the sixteenth century: it referred to a mental faculty, the application of mental power, its products (such as poems or plays, or other objects unrelated to art), and to the idea behind an artifact or work of art that occurred in the deviser’s mind to guide the generative process. Sederi 22 (2012: 93-114) R. G. Sumillera Furthermore, all arts and sciences (poetry included) were considered to have been invented and therefore were inventions themselves, and certainly invention was a praiseworthy aspect in good literary compositions. -
Practicing the Ancient Art of Memoria in the Modern Classroom
Linfield University DigitalCommons@Linfield Faculty Publications Faculty Scholarship & Creative Works 2005 Practicing the Ancient Art of Memoria in the Modern Classroom Jackson B. Miller Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/commfac_pubs Part of the Speech and Rhetorical Studies Commons DigitalCommons@Linfield Citation Miller, Jackson B., "Practicing the Ancient Art of Memoria in the Modern Classroom" (2005). Faculty Publications. Accepted Version. Submission 2. https://digitalcommons.linfield.edu/commfac_pubs/2 This Accepted Version is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Accepted Version must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. Oratorical Address 1 Running head: ORATORICAL ADDRESS PRESENTATION Oratorical Address Presentation: Practicing the Ancient Art of Memoria in the Modern Classroom Jackson B. Miller Department of Theatre and Communication Arts Linfield College 900 S.E. Baker St. McMinnville, OR 97128 TEL: (503) 883-2625 FAX: (503) 883-2593 E-mail: [email protected] Word Count = 1835 Oratorical Address 2 Oratorical Address Presentation: Practicing the Ancient Art of Memoria in the Modern Classroom objective : To challenge students' memorization and speaking skills by having them present an excerpt from a previously delivered speech. courses : basic, public speaking Memoria, one of the original five canons of rhetoric, 1 has been described as a lost art (Hoogestraat, 1960, p.