Journal articles on the topic 'Narration (Rhetoric)'
To see the other types of publications on this topic, follow the link: Narration (Rhetoric).
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Narration (Rhetoric).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Shaheen, Osamah Hussein. "Prospects of Narrative Rhetoric." International Journal of Early Childhood Special Education 14, no. 1 (March 17, 2022): 857–63. http://dx.doi.org/10.9756/int-jecse/v14i1.221100.
Abstract:
This study elucidates the relationship of the new rhetoric with the narrative achievement, which involves a rhetorical act that is different from its poetic counterpart, because it contains new types of text formulation that refer to the unspoken in the fabric of the narration, where its content proves its formation in a new process outside the ordinary, and this new compositional awareness can convince and enjoy in Now the same, and on this basis, the study came to transcend the constant and accomplish the shift between rhetorical art and narration art, to analyze the creative discourse, and reveal its aesthetic values.
2
d'Espèrey, Sylvie Franchet. "Rhetoric and Poetics in Quintilian: a Consideration of the Apostrophe." Rhetorica 24, no. 2 (2006): 163–85. http://dx.doi.org/10.1525/rh.2006.24.2.163.
Abstract:
Abstract This article considers the difficulties faced by Quintilian in classifying and understanding apostrophe. He treats it as both a figure of thought, with examples from oratory, and a figure of speech, with examples from Virgilin which the narrator addresses characters of the poem. By inserting the otherwise unobtrusive narrator into the narrative, the effect of the Virgilian examples is to collapse the distinction between narration and narrative. Since Quintilian does not have this means of linguistic analysis at his disposal, he defines apostrophe as a figure of speech by bringing it into relation with other figures that also produce an effect of rupture at the level of narration, and he uses other oppositions that offer an imperfect treatment of the problem.
3
Segal, E. "Franz Kafka: Narration, Rhetoric, and Reading." Poetics Today 34, no. 3 (September 1, 2013): 408–11. http://dx.doi.org/10.1215/03335372-2325286.
4
Grzeszczuk-Brendel, Hanna. "Rhetoric of the image of architecture." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 22, no. 31 (January 8, 2019): 29–37. http://dx.doi.org/10.14746/i.2017.31.04.
Abstract:
Based on the example of one of the newsreels of the Polish Film Chronicle of 1965, we have researched the issue of the usability of rhetorical figures for the analysis of the image of architecture recorded in film and its relations with the verbal rhetoric of narration as well as the pictorial rhetoric, which makes up the message of a different nature. By this we have attempted to decode the lifestyle model presented in the film and propagated by its manner of description of architecture with the use of rhetorical figures and also to decode the role and meaning of the architectural forms, which were engaged in the creation of the message of the film image. Combining the rhetorical analysis with an interpretation of the architectural forms has enabled us to identify the persuasive nature of the message of the chronicle material included in the documentary film.
5
Kanno, Mieko. "The rhetoric of the shadow: a semiotic study of James Clarke's Isolation." Tempo, no. 215 (January 2001): 27–31. http://dx.doi.org/10.1017/s004029820000824x.
Abstract:
A musical work can tell a story as beautifully as a work of literature can. In music we may not easily grasp the meaning of the story but there is nevertheless a fascination about its semantic potential. The type of narrative such a work expounds can be described as allegorical, because of the ambiguity of its semantic definition. We are free to interpret it in whatever ways we like, but one of the interests in a narrative is the way in which it encodes specific strategies of interpretation for the listener. As long as there is a story there are always characters involved who act as the reader, the narrator, and the author behind the work, regardless of whether they really exist as actual people. This discussion focuses around the role of the reader-listener: its aim is to show that the reader-listener's contribution is a fundamental element in understanding not only the process of narration but also the work's aesthetic scheme itself.
6
Schröter, Jens. "Visuality and Narration in Monsters, Inc." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 35–47. http://dx.doi.org/10.2478/ausfm-2014-0013.
Abstract:
Abstract The overblown rhetoric concerning the “digital revolution” conceals deep continuities between traditional and new forms. As the example Monsters, Inc. shows established forms of narration can be used together with new forms of computer generated images. The complexities of this constellation are described by an analysis of the film.
7
Phelan, James. "Voice, tone, and the rhetoric of narrative communication." Language and Literature: International Journal of Stylistics 23, no. 1 (February 2014): 49–60. http://dx.doi.org/10.1177/0963947013511723.
Abstract:
The essay argues for a rhetorical view of narrative communication as an author’s deployment of particular resources in order to generate certain responses in readers, and then examines the nature and possible functions of voice as a resource. It defines voice as the synthesis of style (diction and syntax), tone (a speaker’s attitude toward an utterance) and values (ideological and ethical), and then turns to analyzing the role of voice—and more particularly, the role of tone—in narrative communication. With George V Higgins’s The Friends of Eddie Coyle as Exhibit A, the essay examines the functions of voice and tone in fictional dialogue, and with Joan Didion’s The Year of Magical Thinking as Exhibit B, it examines their role in nonfictional narration. The essay concludes with a call for further analyses of voice and tone, even as it cautions that their roles may be more or less important as we move from one narrative to another.
8
Cuilleanain, Cormac O., and Pier Massimo Forni. "Adventures in Speech: Rhetoric and Narration in Boccaccio's 'Decameron'." Modern Language Review 93, no. 1 (January 1998): 238. http://dx.doi.org/10.2307/3733709.
9
Kirby, John T. "Rhetoric and Poetics in Hesiod." Ramus 21, no. 1 (1992): 34–60. http://dx.doi.org/10.1017/s0048671x00002666.
Abstract:
Interest in the study of rhetoric and its effects has, of late, seen a notable increase in literary circles. This is understandable, given the whole tendency of current literary theory, but one might equally understandably suppose that that tendency would long postdate Greek poetry of the Archaic period. It would be striking, then, to discover here—at the earliest extant stratum of western literature—a vital interest in the nature of human communication, in its sociological and political effects, and in its relationship to what we have come to think of as artistic creativity. And yet, I submit, that is just what we do discover.In the case of the Iliad and the Odyssey, the task of extrapolating a synthetic theory of rhetoric would be a complex one, because so much of the text is couched in what Benveniste calls ‘histoire’, i.e. ‘historical narration’—that is, rather than the narrator's addressing the audience, implicitly or explicitly, in a direct I/you relation, both are looking away towards a third point, the site of the dramatic action. Moreover, rather than engage the reader/audience in the consideration of some abstract disquisition, the poet presents a muthos, i.e. represents a series of actions. Much more of Hesiod's verse, however, is in the form of what Benveniste calls ‘discours’, or ‘discourse’, which is directed precisely to the reader/audience. Even the narrative portions of Hesiod often have what we might term a frankly philosophical application; that is, the purpose of the narrative is didactic and, typically, ethical.
10
Zsadányi, Edit. "Impersonal Narration in the Prose of Margit Kaffka, Emma Ritoók and Jolán Földes." Hungarian Cultural Studies 4 (January 1, 2011): 171–89. http://dx.doi.org/10.5195/ahea.2011.41.
Abstract:
In this paper, I examine the ways in which women writers have contributed to literary modernity, and discuss approaches and rhetoric tropes that are able to convey the peculiarities of femininity. To this purpose, I have chosen to discuss a range of gendered prose poetry methods used by women writers of the first half of the 20th century that articulate the peculiarities of women’s identities. Inspired by feminist researchers Griselda Pollock and Rita Felski, I also examine instances and possible interpretations of gendered impersonal narration, such as the rhetoric of enumeration, overlapping cultural and fictional narratives, and the projection of feminine subjectivity onto objects. I also emphasize that we must take into account not only to the voice, language and personality of a character or narrator when examining constructs of their (feminine) self-image, but also other signs emerging elsewhere in the text.
11
Al-Suhaimi, Saleh. "Narrative Discourse in al-Jahiz's The Judge of Basra and the Fly." Journal of Umm Al-Qura University for Language Sciences and Literature, no. 28 (August 1, 2021): 389–424. http://dx.doi.org/10.54940/ll27307807.
Abstract:
This study is an endeavor to apply the concept on The Story of The Judge of Basra and the Fly included by al-Jahiz in the book of al-Hayawan [The Book of Animals] against the three concepts of discourse introduced by Gerard Genette: duration, mode, and voice. The study addressed the concept and its procedures on the theoretical level on one hand and then to use of this concept and apply it on the story, on the other hand. The authority of the story was derived from the authority of the (Judge), which unknowingly trapped him in exercising (veneration)! Al-Jahiz tried through the discourse to deconstruct the authority and bringing it back to (solemnity) and bringing it down from steady to movement and from strength to weakness. The closed sequential order of time showed matching with the status of veneration and steadiness. That was against the opened time which is matching the insistence of flies in its transforming and mobile significance. The perspective followed by the narrator in building his story vision violated the Judge's perspective. The paradox was between the authority of the omniscient narrator represented by al-Jahiz and the central character represented by the Judge. It is a paradox between the discourse and the story. The study revealed a set of results of which the most important are that al-Jahiz relied on solo narration in the discourse of the story and the focus in his rhetoric message on the narration authority through words and actions between the narrator and recipient to explore the deep significance of the story discourse multitude of the mechanisms of producing narration in respective of the persuasive semantics that the narrator sought to establish in the narrative text.
12
Danzer, Gerhard. "Sagbares, Unsagbares, Unsägliches." Rhetorik 37, no. 1 (November 1, 2018): 7–23. http://dx.doi.org/10.1515/rhet.2018.002.
Abstract:
Abstract Rhetoric in medicine refers to various acts and actors: the patients speech; the doctors speech; the resulting narratives - for instance the medical history; the patients biography; the narration of the doctor-patient relationship; the cultural history of doctor, patient and illness.
13
Erby, Brandon M. "Surviving the Jim Crow South: “The Talk” as an African American Rhetorical Form." Journal for the History of Rhetoric 24, no. 1 (January 2021): 24–38. http://dx.doi.org/10.5325/jhistrhetoric.24.1.0024.
Abstract:
ABSTRACT This article contends that “The Talk” about racism and police brutality that Black parents have with their children is an intergenerational rhetorical form that not only addresses the behaviors of Black youth in the presence of law enforcement officers but also encourages Black adolescents to develop racial consciousness about how notions and acts of white supremacy impair Black identities. Focusing primarily on the Jim Crow era and the experiences of Charles Evers, Medgar Evers, and Emmett Till, this article explains how The Talk consistently responds to a history of racial violence against Black people and reveals how tenets of rhetoric, memory, and narration frame African American survival practices.
14
Schuhmacher, Frank. "Mythos: rhetorisch wirksam gemachte Geschichte." Rhetorik 38, no. 1 (November 14, 2019): 53–71. http://dx.doi.org/10.1515/rhet-2019-0007.
Abstract:
Abstract In this article, it is argued that history and narration in the ancient rhetoric were (mostly) used as an argument for reaching their own objectives. This attitude towards history is essentially mythical and pragmatic, disregarding the special context of a particular event. At the beginning of the 19th century, there was a time when a critical spirit evolved amongst positivist historians and suppressed the pragmatic view of history. This evoked a response not only from intellectuals such as Nietzsche and Croce, but also from fascists – especially Mussolini – putting the emphasis again on and taking up the old tradition of the rhetorical use of history.
15
Schuhmacher, Frank. "Mythos: rhetorisch wirksam gemachte Geschichte." Rhetorik 38, no. 1 (November 14, 2019): 53–71. http://dx.doi.org/10.1515/rhetorik-2019-0007.
Abstract:
Abstract In this article, it is argued that history and narration in the ancient rhetoric were (mostly) used as an argument for reaching their own objectives. This attitude towards history is essentially mythical and pragmatic, disregarding the special context of a particular event. At the beginning of the 19th century, there was a time when a critical spirit evolved amongst positivist historians and suppressed the pragmatic view of history. This evoked a response not only from intellectuals such as Nietzsche and Croce, but also from fascists – especially Mussolini – putting the emphasis again on and taking up the old tradition of the rhetorical use of history.
16
Forni (book author), Pier Massimo, and Sherry Roush (review author). "Adventures in Speech: Rhetoric and Narration in Boccaccio's Decameron." Quaderni d'italianistica 17, no. 1 (April 1, 1996): 141–42. http://dx.doi.org/10.33137/q.i..v17i1.10327.
17
Park, Jin. "The Rhetoric of Unreliable Narration and The Dynamics of Reading Processes." Journal of Korean Fiction Research 74 (June 30, 2019): 217–46. http://dx.doi.org/10.20483/jkfr.2019.06.74.217.
18
Apostol, Nicoleta Petronela. "'Eyeless in Gaza'. Reflecting the Self through Recollection." Linguaculture 4, no. 1 (June 1, 2013): 79–92. http://dx.doi.org/10.47743/lincu-2013-4-1-285.
Abstract:
The paper proposes a discussion upon the manner in which the self of an individual gains shape through the paths chosen by the individual’s memory. The analysis of Anthony Beavis, the main character in Aldous Huxley’s novel, Eyeless in Gaza, makes use of the intersection of the present and the past as it is outlined in the character’s mind. Aldous Huxley invites his audience to take a ‘journey’ through Anthony’s past, present and a sense of his future. The novel’s progression passes from one year to another, apparently without any chronological order or logic. All the unfolding events have a logic in the character’s mind and the readers are invited to enter Anthony’s consciousness and make judgments both as outsiders of Anthony’s experience and as viewers of an inside perspective in order to gain a better picture of Anthony’s personality, but they are also invited to make judgments upon Anthony’s choices in shaping his identity. This vision of Anthony’s self also involves a rhetorical approach to narrative as it is dealt with by James Phelan in Experiencing Fiction. Judgments, Progressions, and the Rhetorical Theory of Narrative (2007) and Living to Tell about It. A Rhetoric and Ethics of Character Narration (2005), approach that highlights the intersection of three main elements: the cognitive, emotive and ethical dimensions of reading. Anthony Beavis’s self gains shape as the narrative unfolds and as the ethical position taken by the readers changes according to their responses to the narrative.
19
Rebhorn, Wayne A. "Adventures in Speech: Rhetoric and Narration in Boccaccio's "Decameron.". Pier Massimo Forni." Speculum 73, no. 2 (April 1998): 514–16. http://dx.doi.org/10.2307/2887194.
20
Staples, Max. "Adventures in Speech: Rhetoric and Narration in Boccaccio's Decameron (review)." Parergon 15, no. 2 (1998): 197–200. http://dx.doi.org/10.1353/pgn.1998.0029.
21
Dinkler, Michal Beth. "The Politics of Stephen’s Storytelling: Narrative Rhetoric and Reflexivity in Acts 7:2–53." Zeitschrift für die neutestamentliche Wissenschaft 111, no. 1 (April 1, 2020): 33–64. http://dx.doi.org/10.1515/znw-2020-0002.
Abstract:
AbstractTaking Stephen’s lengthy speech in Acts 7:2–53 as its case study, this paper considers the complex ways that narratives function politically, and especially how the author of Acts constructs the act of storytelling as a purposive persuasive strategy within the complex political landscape of the first-century Mediterranean world. Although some have interpreted Stephen’s speech in light of ancient rhetorical conventions, I contend that Stephen is not portrayed primarily as an elite classical orator; he is, fundamentally, a storyteller. This paper considers previous approaches to Stephen’s speech, and then analyzes the speech as an act of persuasive political narration. In the end, I argue that Stephen’s audience reacts so violently because of the particular kind of national narrative that Stephen tells about the people of Israel.
22
Skansgaard, Michael. "The Virtuosity of Langston Hughes: Persona, Rhetoric, and Iconography in The Weary Blues." Modern Language Quarterly 81, no. 1 (March 1, 2020): 65–94. http://dx.doi.org/10.1215/00267929-7933089.
Abstract:
Abstract Previous historical studies of The Weary Blues have focused on the racial symbolism of Langston Hughes’s technique, which (as the consensus goes) authenticates the voice of the persona through its deliberate simplicity. This orthodox view is wrongheaded from the outset. The essay uses a new system of rhetorically driven scansion to identify elaborate rhetorical symmetries and polyrhythms that shape the cognition of Hughes’s persona and the recognition of his readers in ways that prose language cannot. Hughes employs rhetoric and iconography as alternative modes of historical narration. This recuperation of his persona intervenes in an ongoing dispute in the field of historical poetics about the value of formalism and cognitivism. The essay aims to show that the concept of thinking in verse is valuable where it has been least applied: in reclaiming the value of traditionally marginalized literatures such as those of the African American vernacular tradition.
23
Hj Samri, Dewi. "Pendekatan Terhadap Penyampaian Ceramah Ustaz Kazim Elias Melalui Pengaplikasian Retorik Moden." Jurnal Bahasa 22, no. 22 (June 2, 2022): 49–76. http://dx.doi.org/10.37052/jb22(1)no3.
Abstract:
Language plays a major role in a society especially in da'wah communication because every message in da'wah should be delivered using an accurate and precise language to ensure that the listener understands the meaning conveyed. Therefore, it is undeniable that some of the da'wah's message did not reach its listeners due to the preacher's failure in delivering and using language. As a result, the rhetorical approach is needed in order to improve the language used in processing or delivering the information so that it can be able to influence the listener. Although the rhetorical approach is often used in the field of education, politics and advertising, but this rhetorical theory also exists and is able to improve the quality of language in delivering the elements of da'wah. On that basis, this study focuses on the type and function of rhetoric used by speakers from neighboring countries, namely Ustaz Kazim Elias. Recordings of his talks were downloaded through the website and subsequently transcribed for research data. This study will utilize rhetorical theory as the main guide in parsing and explaining certain expressions according to the context in which they are spoken. Based on the analysis and discussion that has been done, this study found that there are all types of rhetoric used by Ustaz Kazim Elias (exposure: 31%, argument: 5%, explanation: 19%, narration: 37% and persuasion: 8%). These types can be identified through certain markers such as the use of pronouns, affirmative words, adjectives, figurative language (simile and metaphor) and verses of the Qur'an.
24
Hj Samri, Dewi. "Pendekatan Terhadap Penyampaian Ceramah Ustaz Kazim Elias Melalui Pengaplikasian Retorik Moden." Jurnal Bahasa 22, no. 22 (June 2, 2022): 49–76. http://dx.doi.org/10.37052/jb22(1)no3.
Abstract:
Language plays a major role in a society especially in da'wah communication because every message in da'wah should be delivered using an accurate and precise language to ensure that the listener understands the meaning conveyed. Therefore, it is undeniable that some of the da'wah's message did not reach its listeners due to the preacher's failure in delivering and using language. As a result, the rhetorical approach is needed in order to improve the language used in processing or delivering the information so that it can be able to influence the listener. Although the rhetorical approach is often used in the field of education, politics and advertising, but this rhetorical theory also exists and is able to improve the quality of language in delivering the elements of da'wah. On that basis, this study focuses on the type and function of rhetoric used by speakers from neighboring countries, namely Ustaz Kazim Elias. Recordings of his talks were downloaded through the website and subsequently transcribed for research data. This study will utilize rhetorical theory as the main guide in parsing and explaining certain expressions according to the context in which they are spoken. Based on the analysis and discussion that has been done, this study found that there are all types of rhetoric used by Ustaz Kazim Elias (exposure: 31%, argument: 5%, explanation: 19%, narration: 37% and persuasion: 8%). These types can be identified through certain markers such as the use of pronouns, affirmative words, adjectives, figurative language (simile and metaphor) and verses of the Qur'an.
25
Chen, Fanfan. "The Narrative Rhetoric in Léa Silhol’s La Tisseuse: Contes de Fées, contes de Failles." Arcadia 47, no. 1 (July 2012): 78–107. http://dx.doi.org/10.1515/arcadia-2012-0003.
Abstract:
AbstractThe diversity of contemporary French narration renders the canonical definition of le fantastique useless. Writers challenge Todorov’s definition that the fantastic emerges as the reader hesitates between the supernatural and the natural explanation for the unlikely event. Léa Silhol (1967), a storyteller of mythic-poetic-fantastic style, figures among these writers. An inheritor of romantic fantastic storytelling, Silhol delves into the mental and psychic depth of legendary figures, mostly goddesses and fairies, to make them question their own identity and observe humans from their perspective. Her feminine and universal writing about the fantastic exemplifies the new-generation French fantastic. Like the mythic tisseuse in her tales, Silhol weaves stories with a new texture, with an imaginary étoffe. Just as the mythic and legendary weavers are associated with water, she makes use of it to achieve her verbal alchemy, the narrative rhetoric of which operates from three angles: mythic, structural, and stylistic. Silhol’s transtextual writing of myths from different cultures creates mythic résonance of the collective unconscious from linguistic différance. The narrative structure of the tales embodies the inversion of vision in Bachelardian alchemy of the imagination. Lastly, a scrupulous analysis of the author’s diction that corresponds with the thematic threading of tales and their narrative structure will illustrate her dominant style of harmonism.
26
Carroll, Noël, and Monika Bokiniec. "Koordynowanie narracji filmowej z reakcjami emocjonalnymi widza." Panoptikum, no. 19 (June 30, 2018): 32–42. http://dx.doi.org/10.26881/pan.2018.19.02.
Abstract:
The purpose of the paper is to show how the narrative address of the movies and their emotional address are typically interconnected. Specifically, how the criterial prefocusing model can be integrated with the erotetic narration model.
Erotetic narration explains how a movie holds attention, how spectators are able to follow its unfolding, how it succeeds in making us feel that it is unified, and how it engenders the feeling of closure. It is based on the claim that question formation is a natural human mental propensity and movies exploit this natural propensity, by presenting us with situations that dispose us to formulate certain questions if only tacitly. The promise of those questions being answered sustains our interest in the story, while guideing our tracking of the flow of information and viewing the story with a feeling of unity and coherence, and typically, ultimately closure.
Our emotional engagement with movies is not solely a function of the rhetoric of erotetic narration, but also of the emotional content of the narrative. So in order to explain how that engages the audience effectively, Carroll turns to his theory of criterial prefocusing. Emotions are understood here as mechanisms of selective attention, which organise our perception of the environment by picking up what will help or hinder us. Contrary to our natural environment, in the movies, the environment has already been designed to make certain emotional themes, such as danger or injustice, stand out. Elements of the shot, scene or sequence are preselected and made salient by the moviemaker by means of visual devices such as scenography, framing, aural effects and various narrative and dramaturgical structures.
The phenomenon of criterial prefocusing serves the purposes of erotetic narration primarily by securing our emotional attachment to the protagonists and our affective aversion or antipathy to the antagonist, which invests us in macroquestions about the overall prospect for success and micro-questions from scene to scene.
27
Smarr, Janet Levarie. "Adventures in Speech: Rhetoric and Narration in Boccaccio’s Decameron by Pier Massimo Forni." Studies in the Age of Chaucer 19, no. 1 (2017): 244–46. http://dx.doi.org/10.1353/sac.2017.0018.
28
Henderson, Ian H. "Speech representation and religious rhetorics in Philostratus' Vita Apollonii." Studies in Religion/Sciences Religieuses 32, no. 1-2 (March 2003): 19–37. http://dx.doi.org/10.1177/000842980303200102.
Abstract:
Philostratus' Vita Apollonii is structured by the stylistic distinction, older than Aristotle, between composed and improvisational rhetorics. Philostratus extends this bipolar theory of rhetorical styles to define for Apollonius a religious discourse beyond sophistic rhetoric, marked by silence and oracular speech. The Vita represents and evaluates speech in a variety of rhetorical modes and voices, especially those of Apollonius and the narrator. The whole continuum from vulgar lies, through sophistic rhetoric to Pythagorean or Delphic oracle is exemplified inside the range of Apollonius' own speech habits as Philostratus represents them. Whatever its merits as historical biography, Philostratus' narrative methodically interprets key possibilities of eccentric religious and political speech in the Roman Empire.
29
Keener, Craig S. "Paul and Sedition: Pauline Apologetic in Acts." Bulletin for Biblical Research 22, no. 2 (January 1, 2012): 201–24. http://dx.doi.org/10.2307/26424753.
Abstract:
Abstract In a number of cases, Luke's depiction of riots in Acts follows the appropriate convention in forensic rhetoric of returning charges against accusers. At the same time, Luke's apologetic could have been better served had he been able to avoid narrating riots surrounding Paul at all. His narration of riots therefore reflects accusations against Paul still likely circulating in his day, charges exemplifed in Acts 24:5 and 25:8 and perhaps associated with Paul's martyrdom (depending on the date one assigns to Acts). There is therefore strong probability that Luke preserves relevant and fairly recent, therefore probably accurate, information about some of Paul's historical experiences. Observing Luke's apologetic therefore informs our appreciation of Luke both as an apologist and as a historian.
30
Urban, Palina. "From diary narrative to the referential Self: how questionnaires and quizzes reshaped online self-writing." Media, Culture & Society 42, no. 5 (April 8, 2020): 777–88. http://dx.doi.org/10.1177/0163443720914033.
Abstract:
This article discusses the evolution of self-inscription from the soul-searching autobiographical narratives characteristic of personal diaries to the highly referential and indirect language articulated in today’s social media. To trace the origins of this shift, this study considers blogs of the first decade of the 21st century where traditional diary narrative started to transform into a new type of ego-text. It suggests that the spread of online quizzes and questionnaires in the beginning of the 21st century played an important role in the creation of the referential Self characteristic of today’s online rhetoric. Entering the realm of traditional ego-text, these prestructured tools replaced evident self-narration with a disguised indirect version, providing ready-made identity templates and establishing clear rules of information circulation.
31
De Santiago-Guervós, Javier. "Vocabulary, Story and Ideology in the Rhetoric of Persuasive Speech." Estudios de Lingüística del Español 40 (January 24, 2019): 9–26. http://dx.doi.org/10.36950/elies.2019.40.8561.
Abstract:
Taking the theories of classical rhetoric as a starting point, we deal with inventio, dispositio, elocutio, memory and actio, common in every communicative act, and we will focus on two essential elements of persuasive rhetoric: one that is related to elocutio, that is, the selected vocabulary that determines the intention that the source has at the time of making the speech, and the other related to the inventio, that is, the type of discourse selected: the story or the narration as a format in which the discourse is framed to reach the recipient with the least amount of effort, and the greatest possible effectiveness. So, from this approach, we will study the word and the “mold” through which the discourse arrives to obtain an emotional response in the recipients.
32
Day, Linda. "RHETORIC AND DOMESTIC VIOLENCE IN EZEKIEL 16." Biblical Interpretation 8, no. 3 (2000): 205–30. http://dx.doi.org/10.1163/156851500750096327.
Abstract:
AbstractEzekiel 16 presents the narration of a man's relationship with his woman as an extended metaphor of Yhwh's relationship with Jerusalem. In consideration of its rhetoric, we discover that the speaking voice is exclusively male. The man Yhwh focuses upon sexual possession of the woman Jerusalem, uses shaming tactics, mandates voyeurism, and exhibits faulty logic in his condemnation of her. On a second level, when we compare the incident presented in the text with situations of domestic violence, we find that the textual interaction exhibits charac47 teristics similar to those of men who physically abuse women. Ezekiel 16 reflects a situation of woman battering in its content and progression. Its male speaker, Yhwh, exhibits those traits of a woman abuser: jealousy, possessiveness, and censuring. As batterers tend to wrongly suspect their women of affairs, this comparison serves to question the veracity of the male speaker in this text. On a third level, one finds that many who have interpreted this passage have overwhelmingly tended to believe the statements of the man Yhwh that the woman Jerusalem deserves the abuse. These male readers have taken a perspective similar to that of a battered woman before she leaves the relationship; they speak with a female voice.
33
Boni, Stefano. "Contents and Contexts the Rhetoric of Oral Traditions in the ɔman of Sefwi Wiawso, Ghana." Africa 70, no. 4 (November 2000): 568–94. http://dx.doi.org/10.3366/afr.2000.70.4.568.
Abstract:
AbstractThis article examines political oral traditions in the Sefwi (Akan) area of Ghana. Two types of narrative are studied: negotiations over the political status of stools within the kingdom and the claims to succession of matrilineal branches within stools. Narratives are analysed in relation to their claims to historicity, to the political conflicts in which they are generated and to their correspondence to legal criteria of attribution of ‘traditional’ political offices. It shows that pre‐colonial dynamic norms concerning stool status and succession turned into a fixed legal corpus in the twentieth century. Contenders’ histories have been used as evidence to judge ‘traditional’ stool disputes. Narrators have thus constructed narratives presenting ideal pasts considered worthy of legal attribution of ‘traditional’ political office. Narratives have consequently legalised narrators’ claims with reference to ancient history. The study of the context of the emergence of oral traditions—hostility between particular stool holders, national politics’ influence or conflicts over the sharing of stool revenue—shows that narratives and political conflicts have a history of their own which is carefully omitted from the narration.
34
Kunt, Gergely. "Ironic Narrative Agency as a Method of Coping with Trauma in the Diary-Memoir of Margit K., a Female Holocaust Survivor." Hungarian Cultural Studies 7 (January 9, 2015): 28–40. http://dx.doi.org/10.5195/ahea.2014.137.
Abstract:
This paper analyzes the rhetoric of a manuscript written in Budapest immediately after the Holocaust to record the personal experiences of the author, Margit K. I examine the text in terms of the role of writing and narration in processing trauma and how these appear in the narrative. In her memoirs, Margit K. had imbued her personal history of persecution with meanings that facilitated their integration into her life history and her self-definition. She chose to narrate her tragic past using euphemistic, mitigating, or ironic language and constructed her stories to have positive outcomes while attempting to write as little of the pain and tragedy of her persecution as possible. The euphemizing narrative methods used in the memoirs disappear entirely in the diary and the themes discussed in the diary are also different, which shows the advantages of constructing a desired past within the genre of the memoirs in contrast to the more strictly defined genre of diary-writing.
35
Murphy, Peter. "Systems of Communication." International Journal of Knowledge and Systems Science 2, no. 2 (April 2011): 1–15. http://dx.doi.org/10.4018/jkss.2011040101.
Abstract:
Three fundamental systems of communication are defined: information, explanation, and imagination. Information is based on analytic distinctions between objects in the world. Explanatory communication provides knowledge through discourse, narration, logic, rhetoric and other forms of systemic elaboration. Intellectual discovery relies on a third system of communication, that of imagination. Rather than distinction or elaboration, imagination is rooted in intuition and analogy. The most powerful medium of the imagination is antonymous insight. The article discusses examples of the latter from warfare, politics, and science.
36
Equestri, Alice. "Writers and readers in early modern Italianate verse narratives." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (August 6, 2018): 20–38. http://dx.doi.org/10.1177/0184767818788881.
Abstract:
The article considers some examples from the often overlooked genre of Elizabethan verse translations of Italian novellas, concentrating in particular on the poems where the flow of the narration is interrupted by interpolated speeches, namely letters. I consider how epistolary correspondence in these stories often brings about violent outcomes, how the rhetoric of letters can complicate the reader’s interpretation and how the poets describe the material actions of writing and reading. Paratextual epistolary material is also analysed to determine the authors’ purpose.
37
Zulkarnain, Iskandar, Muryanto Amin, Rizabuana Ismail, Febry Ichwan Butsi, Sakhyan Asmara, and Raras Sutatminingsih. "Markobar: Local Wisdom Based-Rhetorical Model." Academic Journal of Interdisciplinary Studies 10, no. 2 (March 5, 2021): 185. http://dx.doi.org/10.36941/ajis-2021-0049.
Abstract:
The objective of the research was to find out the reference to alternative rhetoric by digging up markobar as the value of local wisdom implemented in Mandailing ethnicity that uses markobar culture as a local wisdom in communicating in a formal forum. This research used communicative ethnography method. It was conducted at Kelurahan Pasar Maga, Lembah Sorik Merapi Sub-district, Mandailing Natal Regency, North Sumatera Province, Indonesia. The event or the Markobar activity as the object of the research was the Mandailing traditional wedding ceremonies. The research subjects were the informants who got involved in the interaction in the traditional communicative activity, Markobar. The data were gathered by conducting literature study, participants’ observation, and in-depth interviews. The gathered data were analyzed by using Milles and Hubberman model, consisted of Collecting Data; Data Display; Data reduction; Conclusion Drawing; and Evaluation. This model is referred to 8 (eight) components of Hymes; namely, SPEAKING rhetorical analysis. Empirical data found in the fieldwork would be connected in order to develop Markobar as a traditional local wisdom based-rhetorical model. The result of the research showed that in order to master Markobar, one had to understand Dalihan na Tolu and Tutur. In Markobar, rhetorical narration is deductive. This speech (Markobar) has to be presented with full of carefulness, especially in selecting the appropriate words and utterances. The speaking method in it is highly emphasized on the aspect of tenderness, either in intonation or in diction. As a genre, it is an art of speaking which is aimed to attract sympathy; its narration is intended to attract the attention of the listeners and to be successful in achieving its goal. The model developed is AHLI HORAS, an acronym of Akhlak (morals), Ilmu (science), Hormat (homage), and Rasional (rationality).
Received: 16 October 2020 / Accepted: 25 January 2021/ Published: 5 March 2021
38
Egan, James. "Rhetoric and Poetic in Milton's Polemics of 1659–60." Rhetorica 31, no. 1 (2013): 73–110. http://dx.doi.org/10.1525/rh.2013.31.1.73.
Abstract:
Recurring features of Miltonic rhetoric during the 1640s include the structural patterns of the oration and the animadversion, widespread deployment of the classical high, low, and middle styles, and an epideictic mode of praise and blame. Equally noteworthy is the close relationship of rhetoric and poetic. These features can be used as a template to characterize Milton's work in 1659–60, his final period as a political controversialist. Five texts make up this period: Civil Power (1659), Likeliest Means (1659), two editions of The Readie Way (1660), and Brief Notes (1660). In 1659–60 the oration remains Milton's preferred form of public, inaugural address, yet traces of the Puritan sermon can also be found. As he had done in the 1640s, Milton later relied on the classical low style for argument, documentation, and narration. The poetic qualities of Miltonic polemic are as evident in 1659–60 as they had been in the 1640s. The well-developed mimetic identity of the second edition of The Readie Way represents a sophistication of the localized mimesis of the 1640s.
39
Mutiti, Yakobo. "THE ART OF PERSUASION: PATHETIC APPEAL VIS-À-VIS ETHICAL AND LOGICAL CONSIDERATIONS." Advances in Social Sciences Research Journal 6, no. 10 (November 10, 2019): 413–22. http://dx.doi.org/10.14738/assrj.610.7164.
Abstract:
ABSTRACT
Short story writing is a literary art whose creativity heavily depends upon the interplay between the writer and his influence upon the reader. There are four modes of discourse employed in creative writing: exposition, description, narration and persuasion. Exposition is concerned with the layout, style and organisation of events and the actors within them. It is the immediate revelation to the readers of the setting and other background information that is necessary for understanding the plot. Description employs the use of language terms in ‘graphical’ or picturesque representation of something or someone through detailed characterisation of colour, motion, sound, taste, smell and touch. Narration is the telling of a story in fiction, non-fiction, poetry or drama. Persuasion is a form of argumentation where the language employed is intended to convince, principally through appeals to reason or to emotion. This study is focalized on the mode of persuasion with the rhetorical and classical theories as the point of reference. The Greek philosopher Aristotle upheld the view that narration, whose essential purpose is to become persuasive, could only enjoy viability if it possessed the following appeals: ethos, logos, pathos and kairos. This study was a confirmation of Aristotle’s contention across first language and second language English readers; this was underscored by an annexed anthology within the study, depicting divergent fictional settings and all emanating from the same writer, to which reading subjects from these variegated contexts were exposed. Thereafter comprehensive questionnaire covering various dimensions of ethos, logos, pathos and kairos was used to elicit the reader responses in regard to their appreciation and understanding of story. The study is useful not only in cementing the classical tradition, but also as an indication that even in modern rhetoric, logos and kairos must be regarded as basic in any communication while ethos and pathos are mainly appellative, although of relative importance.
40
Docherty, Thomas. "Living to Tell about It: A Rhetoric and Ethics of Character Narration by James Phelan." Modern Language Review 102, no. 1 (2007): 223. http://dx.doi.org/10.1353/mlr.2007.0355.
41
Tammi, Pekka. "Living to Tell about It: A Rhetoric and Ethics of Character Narration (review)." Partial Answers: Journal of Literature and the History of Ideas 3, no. 2 (2005): 200–206. http://dx.doi.org/10.1353/pan.0.0028.
42
Li, Yuan, Sandy E. Green, and Paul M. Hirsch. "Rhetoric and Authority in a Polarized Transition: The Case of China’s Stock Market." Journal of Management Inquiry 27, no. 1 (December 27, 2016): 69–95. http://dx.doi.org/10.1177/1056492616682620.
Abstract:
How do actors in positions of authority attempt to justify their right to rule while introducing controversial institutional practices that potentially delegitimate their authority? China’s reform leaders have found themselves in a legitimacy conundrum when they established and developed the stock market, yet have been able to assert a central role for the party-state in managing the stock market. Using a critical rhetorical perspective, we analyze how actors use “rhetorical genres,” that is, argumentation and narration with differing content and style, to construct new roles of the speaker and speaker–audience relationships that imply new bases of authority, and how these rhetorical genres can be conceptualized as “discursive spaces” that could accommodate contradictions in the rhetorical situations characterized by polarization in ideologies and interests.
43
Topçu, Ulvi Cenap. "Consuming history in a political context: Motivations of Turkish visitors of the Gallipoli Battlefields." Journal of Global Business Insights 5, no. 2 (September 2020): 103–19. http://dx.doi.org/10.5038/2640-6489.5.2.1123.
Abstract:
Certain unconventional tourism activities such as visiting battlefields, old prisons, or crash sites encompass dark tourism and have become the focus of scholarly pursuit. The term was established in relation to the Gallipoli Battlefields; which has been examined mostly in the context of its importance to Australian and New Zealander national identities. As represented by numerous memorials and well-established historical narration, the Battle in Gallipoli is credited as one of the most important representations of Turkish nationality. This research aims to investigate the motivations of Turkish visitors to Gallipoli in terms of consumption experiences and to clarify empirically motivations of Turkish visitors to Gallipoli. An explorative questionnaire was directed to respondents via e-mail, and analyses were conducted with 236 valid forms. Data supports that rather than personal motivation, visiting Gallipoli reflects politically constructed meanings for Turkish visitors. Gallipoli narration is therefore eligibly expounded as national rhetoric and motivations for visiting the site are compatible with group consumption behavior.
44
Ni, Zengxin. "On Unnatural Narrative in Post-9/11 Fiction Flight." Advances in Social Sciences Research Journal 6, no. 12 (January 2, 2020): 190–97. http://dx.doi.org/10.14738/assrj.612.7529.
Abstract:
In the wake of innumerable and insightful studies on the unnatural narratology at home and abroad, it develops into a post-classical narratology that is comparable to female narratology, rhetoric narratology, and cognitive narratology. Taking the native American writer Sherman Alexie’s Flight as its central concern, the essay attends to explore the unnaturalness of the novel and further elaborates on its thematic meaning. In Alexie’s Flight, as a post-9/11 fiction, its unnaturalness can be explored by such elements as unnatural storyworlds, unnatural minds and unnatural acts of narration. The intentional violation of conventional narration further highlights the hero’s crisis and reconstruction of his identity in the post-9/11 world changed with the miserable memory in his childhood, his sublimation from terrorism to pacifism during his time travel and the regain of love in his final foster family, which consequently contributes to the final change of his appellation from “Zits” to “Michael”.
45
Portnoy, A. "The Rhetoric of Rhetoric: The Quest for Effective Communication; Living to Tell about It: A Rhetoric and Ethics of Character Narration; FDR's Body Politics: The Rhetoric of Disability; Defining Reality: Definitions and the Politics of Meaning." American Literature 79, no. 1 (March 1, 2007): 219–22. http://dx.doi.org/10.1215/00029831-2006-092.
46
Lin, Shuxin. "Study on the “Defamiliarization” Narrative in Mo Yan’s Novel the Republic of Wine." BCP Social Sciences & Humanities 16 (March 26, 2022): 618–25. http://dx.doi.org/10.54691/bcpssh.v16i.520.
Abstract:
Mo Yan understands the narration of defamiliarization profoundly. With his extraordinary creative personality, compassionate human feelings, and unique aesthetic judgment, he makes pioneering exploration and innovation in his novel The Republic of Wine. The defamiliarization of the novel’s language is firstly reflected in the change of the name, and the renewal of the semantic connotation gives the work a “new” and “defamiliarized” characteristic. As the core imagery and aesthetic element, the meaning of “wine” extends to the connotation and reflection of nationality. At the same time, the novel’s ironic rhetoric gives the plain words a strong critical meaning. Furthermore, the novel adopts a variable narrative point of view and a changing narrative subject, so that the story presents a rich plurality in pursuing the value of the subject and exploring artistic methods, overflowing with the brilliance of interweaving the real and the fantastic, overlapping the realistic and the absurd, reflecting the torture of human nature and the search for the soul in a defamiliarized expression with modern temperament and contemporary spirit.
47
Chakraborty, Sanchayita Paul, and Dhritiman Chakraborty. "Bengali Women’s Writings in the Colonial Period: Critique of Nation, Narration, and Patriarchy." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 19–34. http://dx.doi.org/10.1515/zaa-2018-0004.
Abstract:
Abstract Critical engagements like the first autobiography written by a Bengali woman, Rasasundari Devi, and the non-fictions by Kailashbasini Devi, Krishnabhabini Das, and other women writers in the second half of the nineteenth century contested the imagined idealization of the Hindu domesticity and conjugality as spaces of loveableness and spiritual commitment. They criticized coercion in child-marriages and the forceful injunctions of the Hindu scriptures on both married and widowed women. Such rhetoric of quasi empowerment needs to be disaggregated to perpetuate issues of ‘double colonization,’ ‘dual-hold’ in feminism in India. The question is whether there can be any grounds of women’s agency in the Indian tradition. Eurocentric critiques are ill-equipped to politicize all modalities of a culture of social exclusion in Hindu imaginaries. Henceforth, as questions of equality, emancipation, and empowerment are fiercely debated in the public domain in contemporary India, we need to argue how immanent dissenting woman subjectivity can originate to counteract multiple patriarchies formed in Indian immediacies.
48
McGrath, Laura. "“That’s the Wonder of It”: Affective Dimensions of Visual Rhetoric for Biodiversity Conservation." "Res Rhetorica" 8, no. 2 (June 30, 2021): 82–96. http://dx.doi.org/10.29107/rr2021.2.5.
Abstract:
In environmental communication, audience engagement is an essential prerequisite for achieving persuasive aims. This article responds to recent interest in visual storytelling and emotionalization – purposeful display and elicitation of emotions – as engagement techniques. A case study of the 2020 Global Biodiversity Festival – part online science festival, part fundraising event – provides evidence of how these techniques are employed in environmental communication for biodiversity conservation. Informed by scholarship on affect, emotion, visual rhetoric, and environmental communication, the case study analysis shows how visual representations of nature, mediated experiences of nature, and accompanying narration orient festival audiences toward specific ways of seeing and feeling that foreground emotional commitments and draw audiences into potentially transformative encounters. The visual rhetoric and affective dimensions of the festival’s website, virtual fi eld trips, and multimodal presentations focus attention, create moments of connection, and call audiences to action. The case study analysis also reveals how the festival, planned in response to the COVID-19 pandemic, treats this crisis as a kairotic moment for encouraging awareness, care, and pro-environmental behaviors.
49
Miro, Dr Baidaa Muhyi Al-Din. "Hajjajiyah Narrative Phrase in Diwan (In the Mirror of the Letter) by the Poet Adib Kamal Al-Din." Alustath Journal for Human and Social Sciences 60, no. 4 (December 20, 2021): 123–42. http://dx.doi.org/10.36473/ujhss.v60i4.1816.
Abstract:
Perhaps in the research, we are trying hard to study the argumentative narrative phrase in the poetic image, and to show the extent of the effectiveness of the pilgrims in narration, due to the absence of addressing this axis in most pilgrimage studies, which is its ability to prove that the poetic discourse possesses an argumentative characteristic that distinguishes it from the rest of the literary races by entering the world of the recipient and the influence In it and his conviction of the usefulness of his message while adopting the condensation, suggestion and symbolism, formative elements codify the dimensions of the poetic discourse, and it is not far from our minds that the Hajjaji approach has emerged in the form of complex and stable persuasion mechanisms on the level of linguistics or contemporary rhetoric, but we decided to support our research with new persuasion mechanisms that would start From the fact that literary discourse, especially poetry, is a dialogue discourse in which voices overlap and multiply by the heated conflicts that afflict the product of the discourse, so the field of pilgrims is dialogue and discourse where the faces of its use appear, and the methods of its operation are evident . As poetry comes out of the circle of lyricism into the space of narration / saying and from the aesthetic formation of the singular or the sentence refers to the ability of the poetic text to interrogate its product and to convey insights and ideas that are subjective and trans-subjective.
50
Wang, Ying. "The Supernatural as the Author's Sphere: Jinghua Yuan's Reprise of the Rhetorical Strategies of Honglou Meng." T'oung Pao 92, no. 1 (2006): 129–61. http://dx.doi.org/10.1163/156853206778553234.
Abstract:
AbstractThis study investigates the similarities between Li Ruzhen's nineteenth-century novel Jinghua yuan and Cao Xueqin's eighteenth-century masterpiece Honglou meng in terms of their artistic experimentation, by its focus on Li's appropriation of Cao's rhetorical strategies. It places the two novels in the context of vernacular literature in the mid- and late Qing period and attributes the disappearance of the "pseudo-oral" narrator in both novels to the dramatization of the narration and the establishment of a supernatural realm as the sphere of the author. The rhetorical strategies employed in Honglou meng, and subsequently evoked in Jinghua yuan, are not, as this study intends to show, the sporadic engagements of the supernatural seen in earlier novels. Instead, they are sophisticated mechanisms at work in both the model and its imitation. In comparing the similarities of rhetoric in these two novels, this essay emphasizes Li Ruzhen's artistic creativity by highlighting his critical responses to Honglou meng and his ingenuity in re-using Cao Xueqin's techniques. Cette étude examine les similitudes entre deux romans, le Jinghua yuan composé au 19e siècle par Li Ruzhen et le chef-d'œuvre de Cao Xueqin, le Honglou meng, qui date du siècle précédent, concernant leurs aspects expérimentaux dans le domaine artistique; pour ce faire elle se concentre sur la façon dont Li Ruzhen s'est approprié les stratégies rhétoriques de Cao Xueqin. L'article replace les deux romans dans le contexte de la littérature vernaculaire d'au milieu et de la fin des Qing, et attribue la disparition du narrateur "pseudo-oral" dans les deux œuvres à la dramatisation de la narration et à l'instauration d'un domaine surnaturel constituant la sphère de l'auteur. Comme entend le montrer cet essai, les stratégies rhétoriques employées dans le Honglou meng et reprises plus tard dans le Jinghua yuan ne se limitent pas à des interventions sporadiques du surnaturel comme dans les romans plus anciens. On a au contraire affaire à des mécanismes sophistiqués mis en œuvre tant dans le modèle que dans son imitation. La comparaison des similitudes rhétoriques dans les deux romans permet de mettre l'accent sur la créativité artistique de Li Ruzhen en mettant en lumière sa réponse critique au Honglou meng et l'ingéniosité avec laquelle il reprend à son compte les techniques de Cao Xueqin.