919 resultados para Rhetoric, Ancient


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In his treatise, On Rhetoric, Aristotle argues that there are three species within an art of rhetoric, judicial, deliberative, and epideictic. Aristotle's threefold rhetorical art, which is based on the functioning of the soul toward justice, reveals the possibilities for persuasive speech found in the Nicomachean Ethics. Aristotle suggests that the soul and political life can be ordered according to reason through speeches pursuing justice, efficiency, and noble action. The relation between rhetoric and the soul also demonstrates how Socrates' rhetoric in Plato's Gorgias is based on an well-ordered soul, which is a just soul. In contrast to his own persuasion, Socrates demonstrates that the persuasive speech employed and taught by Gorgias, the rhetorician, is based on disorder and injustice. These two texts reveal that the intent of rhetoric is not separate from its practice. A study of the art of rhetoric, based on a study of the just soul and the good life, leads to the higher inquiries into politics and philosophy. Thus, political life and philosophy may benefit when citizens examine the nature of rhetoric, and subsequently, justice, within a community and within a soul.

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Exploring the new science of emergence allows us to create a very different classroom than how the modern classroom has been conceptualised under the mentality of efficiency and output. Working on the whole person, and not just the mind, we see a shift from the epistemic pillars of truth to more ontological concerns as regards student achievement in our post-Modern and critical discourses. It is important to understand these shifts and how we are to transition our own perception and mentality not only in our research methodologies but also our approach to conceptualisations of issues in education and sustainability. We can no longer think linearly to approach complex problems or advocate for education and disregard our interconnectedness insofar as it enhances our children’s education. We must, therefore, contemplate and transition to a world that is ecological and not mechanical, complex and not complicated—in essence, we must work to link mind-body with self-environment and transcend these in order to bring about an integration toward a sustainable future. A fundamental shift in consciousness and perception may implicate our nature of creating dichotomous entities in our own microcosms, yet postmodern theorists assume, a priori, that these dualities can be bridged in naturalism alone. I, on the other hand, embrace metaphysics to understand the implicated modern classroom in a hierarchical context and ask: is not the very omission of metaphysics in postmodern discourse a symptom from an education whose foundation was built in its absence? The very dereliction of ancient wisdom in education is very peculiar indeed. Western mindfulness may play a vital component in consummating pragmatic idealism, but only under circumstances admitting metaphysics can we truly transcend our limitations, thereby placing Eastern Mindfulness not as an ecological component, but as an ecological and metaphysical foundation.

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UANL

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UANL

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

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Ce mémoire porte sur la représentation de la fureur dans la tragédie en musique "Roland" de Philippe Quinault et Jean-Baptiste Lully, créée en 1685. Il cherche à préciser, dans une perspective historique et rhétorique, les moyens littéraires, musicaux et scéniques par lesquels sont rendus les excès du personnage furieux sur la scène classique du second XVIIe siècle. Le premier chapitre vise à rassembler les figures mythiques de la fureur dans une perspective d’ordre historique, des origines antiques aux diverses reprises dramatiques du répertoire français, en passant par la célèbre épopée de l’Orlando furioso, rappelant ainsi les bases de la topique de la fureur. Il s’intéresse également au développement d’une esthétique de la fureur propre au genre dramatique, ainsi qu’à son rapport au sublime, idéal d’expression classique. Guidé par la question de la représentation et de ses effets sur le spectateur, le second chapitre propose une analyse rhétorique de la scène de fureur dans Roland. L’étude de cette scène en fonction des différentes parties de la rhétorique – inventio, dispositio, elocutio et actio – démontre qu’une dynamique de contraste et d’alternance entre force et douceur se situe au cœur de la rhétorique du dérèglement qui conduit les représentations de la fureur.

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Ce mémoire, Women, Sources, and Rhetoric in George Pettie’s A Petite Pallace of Pettie his Pleasure, étudie la collection de romans courts de l’anglais moderne intitulée A Petite Pallace of Pettie his Pleasure (1576) et l’identifie comme une collection pour les femmes et comme un précurseur du style euphuistique. Le mémoire est constitué de trois chapitres. Dans le premier chapitre, j’analyse la position des femmes au début de l’Angleterre moderne, alors que A Petite Pallace est dédié aux femmes. Le deuxième chapitre traite des éléments structuraux de chaque histoire comprise dans la collection. Je relève également les modifications faites par l’auteur à des histoires d’origine afin de les adapter à ses lecteurs et afin d’attirer davantage d’attention. Le dernier chapitre porte principalement sur les figures de style utilisées par Pettie pour éblouir ses lecteurs et démontrer toute la richesse de la langue anglaise

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In his influential monograph «The Rhetoric of Citation Systems», Connors (1999) elaborates on the principle that scholars working with different forms of citation find themselves thinking differently, since the citation format has natural consequences in the way it interacts with the material in the practice of the writer. [...]