Analüüsime poliitilist retoorikat Martin Reisigl Sissejuhatus Pikka aega on vähe uuritud poliitilist retoorikat ja kui, siis kõrvaltööna, poliitteadlaste poolt, kes on huvitatud keelest ja lingvistide ja retoorikute poolt, kes on huvitatud poliitikast. Tagajärjeks on lingvistika, retoorika ja poliitteaduste uuringute sagedane amatöörlikkus nende arengus ja teooriakasutuses, metodoloogias ja meetodites. Oma töös püüan näidata, et puudujääke selles vallas saab parandada poliitlingvistilise lähenemisega ühendades retoorika, kriitilise diskursuse analüüsi ja poliitteaduste kontseptsioonid. Mis on poliitiline retoorika? Poliitilise retoorika analüüsis on esimene küsimus, mida poliitiline retoorika tähendab. Vastata saab kahes järgus- esiteks selgitades retoorika tähendust , teiseks selgitades sõna 'poliitiline' tähendust. Retoorika on ladina keelest pärinev- ars bene dicendi et scribendi- s.t. praktiline kunst hästi rääkida ja kirjutada,...
teacher of Atom indivisible · Democritus 460-370 BC - The universe is made of indivisible particles: atoms - The universe is entirely governed by physical laws - One should thus be hedonistic (devote oneself entirely to pleasure) - hence he is called the "laughing philosopher". 15.02.2012 Sophists (Wise Men) Main opponents of Socrates in Plato's dialogues (Hippias, Gorgias, Protagoras, etc.) Teacher of rhetoric, to make the weaker side appear the stronger. Protagoras of Abdera the most prominent Sophist 490-420 BC - "Man is the measure of things" o Relativism? Does this mean that each person can judge the truth of a proposition and there is no basis besides opinion for determining the truth? o Idealism? Does it mean that we cannot talk about a reality which exists outside of human existence? Sophist: · Sophistication
..] tundub ainult kerge massaazina (T. Pratchett. Mort) Oksüümoron näiline vasturääkivus Magus kurbus, kõnelev vaikus, elav laip Antropomorfism ehk inimestamine Tuul otsis enesele kodu... Kodu, kus ta natuke võis istuda, mõtelda või ka magada. (J. Liiv. Tuul) Personifikatsioon ehk isikustamine Laisad lained, rannad ärkavad, pilved suiguvad Tänapäeva metafooriteooriad Kognitiivne ehk interaktsionaalne teooria (interaction theory) Ivor Richards. The Philosophy of Rhetoric (1936) metafoori moodust alati 2 välja, tekib 2 välja vaheline interaktsioon Max Black. Models and Metaphors (1962): põhisubjekt ja abisubjekt (principal subject/subsidiary subject) ehk fookus ja filter. Nt: The man is a wolf (See inimene on hunt) M. Black'i mudelid ja metafoorid: Skaalamudelid- teatud nähtuse, protsesside imitatsioonid Analoogmudelid- originaalse nähtuse v struktuuri taasloomine uues meedias
objectivity of the realistic novelist — that point where language alone acts, “performs,” and not “oneself”: Mallarme’s entire poetics consists in suppressing the author for the sake of the writing (which is, as we shall see, to restore the status of the reader.) Valery, encumbered with a psychology of the Self, greatly edulcorated Mallarme’s theory, but, turning in a preference for classicism to the lessons of rhetoric, he unceasingly questio- ned and mocked the Author, emphasized the linguistic and almost “chance” nature of his activity, and throughout his prose works championed the essentially verbal condition of literature, in the face of which any recourse to the writer’s inferiority seemed to him pure superstition. It is clear that Proust himself, despite the apparent psychological cha- racter of what is called his analyses, undertook the responsibility of inexorably blurring,
Baroque Baroque (pronounced /brok/ b-ROHK in American English or /brk/ in British English) is an artistic style prevalent from the late 16th century to the early 18th century in Europe.[1] It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". The popularity and success of the Baroque style was encouraged by the Roman Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an
KIRJANDUS 1. Aava, Katrin 2012. Retoorika ajalugu. Tallinn: Eesti Väitlusselts http://www.debate.ee/vaitlusselts/ajalugu/retoorika-ajalugu (vaadati 27.01.2019). 2. Mart Raudsaar. Retoorika abimaterjalid 2005. http://etis2dev.finestmedia.ee/Portal/Publications/Display/430b0589-efa9-476a-9dc7- 184fe669235a ( vaadati 27.01.2019) 3. McKey, Brett; McKey Kate 2010. Classical Rethoric 101. https://www.artofmanliness.com/articles/classical-rhetoric-101-an-introduction/ (vaadati 27.01.2019). 13
that addresses the causes and potential sources of those problems is more important than ever. And there is not much of an alternative anywhere as Ha-Joon Chang says, the "plain fact is that the Neo-Liberal `policy reforms' have not been able to deliver their central promise namely, economic growth," and that the "developing" countries grew better under the "bad" policies of 1960-1980. (2002: 128) Fashion and Rhetoric Why, then, the overwhelming dominance of NPM until a few years ago? Naturally, NPM is more than a fashion; as already stated, it is a genuine ideology, or based on one, the neo-liberal creed, in the sense that ideologies are reduced perspectives of reality, reified by their believers because they cannot handle the complexity of the latter. But the power of fashion in itself should never be underestimated, and as has been rightly said,
Uue tähenduse ja rakenduse sai retoorika aga 20. sajandil. Kirjandus 1. Aava, Katrin 2003. Veenmiskunst. Õpik gümnaasiumile. Haridus- ja teadusministeerium: Avita: 9-41. 2. Ginzburg, Carlo 2003. Ajaloofilosoofia: Ajalugu, retoorika, tõendus. Tuna 4/2003: 100-118 http://www.arhiiv.ee/public/TUNA/Artiklid_Biblio/GinzburgCarlo_Ajalugu_TUNA2003_4. pdf (viimati vaadatud 18.04.2015). 3. Kennedy, George Alexander 1998. Comparative Rhetoric: An History and Cross-Cultural Introduction (NY: Oxford University Press, 1998) https://www.academia.edu/4624598/RETOORIKA_AJALOOST_George_Alexander_Kenne dy_Comparative_Rhetoric_ (viimati vaadatud 18.04.2015). 4. Panov = Панов М. И. Введение в риторику. М.: Российский открытый университет, 1995. 5. Udalõh = Удалых Г. Д. Риторика. Ч.1. История риторики
experience or a hardship to be endured but something that actually transforms the essence of human existence into irrevocable, endless suffering. The war destroys Paul long before it kills him. Kantorek Though he is not central to the novel's plot, Kantorek is an important figure as a focus of Remarque's bitter critique of the ideals of patriotism and nationalism that drove nations into the catastrophe of World War I. Kantorek, the teacher who filled his students' heads with passionate rhetoric about duty and glory, serves as a punching bag as Remarque argues against those ideals. Though a modern context is essential to the indictment of Kantorek's patriotism and nationalism, Kantorek's physical description groups him with premodern evil characters. The fierce and pompous Kantorek is a small man described as "energetic and uncompromising," characteristics that recall the worried Caesar's remarks about Cassius in Shakespeare's Julius Caesar: "Yon Cassius has a lean and hungry look
SUSPENSE SUSPENSE means holding the reader in a tense anticipation. This is achieved by special construction of the sentence in which the main part of information comes at the end of the sentence. The sentence must be long. NT: The day on which I take the happiest and best step of my life the day in which I shall be man, more enviable than any other man in the world the day on which I give bleek house its little mistress shall be next month. Syntactic structures used in a new function Rhetoric quest requires no answer, used to emphasise the point. In public speech it expresses sarcasm. In college speech it expresses irony, mostly, because the answer is clear. The reader is made active. E.g. who can stop me (nobody). Is it fair to treat him like this (no). Exclamation this a sentence used as an interjection to express a sudden emotion. E.g. she was so fantastic! How fantastic the paper looked! Graphical expressive means
its time within the British poetry that usually counts enough in the succession of the generations. The generation of the beginnings of the century, the Ezra Pound and Eliot, happen those to them of the Thirties, with Auden, Louis MacNeice and Stephen Spender, a generation who’s jeopardizes on social fights, Larkin appears at a time of changes, a difficult time in the cultural scene of the time, appears like a poet who adjusts like a glove to that to go against of the rhetoric of the previous generations trying to cause a radical change in the settled down customs. In this work we tried to make a revision on the vision of Larkin through the studies that had been made on him, and on the basis of it we can say, that the voice of Larkin still clearly contemporary today. He is, in addition, acid, disagreeable, unpleasant, and we can catalogue these characteristics like the most appreciated by its followers.
need on ja kasutab valijaskonna suurendamiseks argumenteerimist või hoopis rakendab poliitik demagoogiavõtete arsenali, et võita endale mõni hääl juurde. 26 Kasutatud kirjandus 1. Aava, Katrin 2003. Veenmiskunst. Tallinn: Avita. 2. Ehala, Martin; Mare Kitsnik 2011. Praktiline eesti keel 10. klassile I osa. OÜ Künnimees, lk 6. 3. The Free Dictionary, http://www.thefreedictionary.com/rhetoric. Vaadatud 4. Cut The Knot, http://www.cut-the-knot.org/WhatIs/WhatIsDemagoguery.shtml. Vaadatud 5. Durham Technical Community College, http://courses.durhamtech.edu/perkins/aris.html. Vaadatud 16.02.2014 6. Philosophy Lander, http://philosophy.lander.edu/logic/person.html. Vaadatud 7. Fallacy Files, http://www.fallacyfiles.org/adhomine.html. Vaadatud 05.03.2014 8. Philosophy Lander, http://philosophy.lander
and Rome where the rhetoricians cultivated the art of clear and elegant use of language. 18th cent--emerged an individualistic-psychological view on style and stylistics. According to that, style bears the stamps of individual usage: every writer has a unique pattern of habits and abilities that form his style. Fr. Poet Buffon: "Style is the man himself." Late 19th, early 20th century--appeared a utilitarian approach to style remotely linked with ancient rhetoric. It became important to improve the style of a text and show the author how better express his thoughts. (Vallins, Lucas) There was also another tendency in that time--to regard style as a study of form separated from content. (Saintsbury, Bally, Marouseau, Aronstein, Deutchbein) 50s, 60s--rapid growth of interest in stylistics. Various conferences--USA 1958, Poland 1960 70s, 80s--methods of structural linguistics became very popular (counting words etc.)
Muutused toimuvad pidevalt, patud jäävad pidevalt karistamata. Todorovi järeldus: "Decameroni "kirjutamise ajal oli kehtestumas uus maailmavaade, mis hindas üksikindiviidi iseseisvust ja initsiatiivi. 2. Uuskriitika. Põhiesindajad. Tekkepõhjused. Toetub modernistlike luuletajate Ezra Poundi ja T. S. Elioti töödele, mõjutatud modernistlikust esteetikast laiemalt. J. C. Ransom The New Criticism (1941), I. A,. Richards, Practical Criticism (1929); The Philosophy of Rhetoric (1936), W. Empson, Seven Types of Ambiguity (1930), C. Brooks & R. P. Warren Understanding Poetry (1938), Understanding Fiction (1943) 1920. aastal alguse saanud USA ja Inglismaa kirjandusteaduse suund, mis aja- ning eluloolist vaatlusviisi hüljates keskendub teose teksti-elementide analüüsile. Asendas enne domineerinud biograafilist-ajaloolist meetodit (kirjandusteksti tõlgendamine autori ajast ja kavatsustest lähtudes )
karistamata. Todorovi järeldus: “Decameroni “kirjutamise ajal oli kehtestumas uus maailmavaade, mis hindas üksikindiviidi iseseisvust ja initsiatiivi. 2. Uuskriitika. Põhiesindajad. Tekkepõhjused. Toetub modernistlike luuletajate Ezra Poundi ja T. S. Elioti töödele, mõjutatud modernistlikust esteetikast laiemalt. J. C. Ransom The New Criticism (1941), I. A,. Richards, Practical Criticism (1929); The Philosophy of Rhetoric (1936), W. Empson, Seven Types of Ambiguity (1930), C. Brooks & R. P. Warren Understanding Poetry (1938), Understanding Fiction (1943) 1920. aastal alguse saanud USA ja Inglismaa kirjandusteaduse suund, mis aja- ning eluloolist vaatlusviisi hüljates keskendub teose teksti-elementide analüüsile. Asendas enne domineerinud biograafilist-ajaloolist meetodit (kirjandusteksti tõlgendamine autori ajast ja kavatsustest lähtudes )
24 Erilise tähtsuse omistamine Metafoorne ja temaatiline ühtsus UUSKRIITIKA 49.Tekkepõhjused ja põhialused Tekkepõhjused 1940 - 1950ndad, alguse saanud 20. saj. alguses Toetub modernistlike luuletajate Ezra Poundi ja T. S. Elioti töödele, mõjutatud modernistlikust esteetikast laiemalt. J. C. Ransom The New Criticism (1941), I. A. Richards, Practical Criticism (1929); The Philosophy of Rhetoric (1936), W. Empson, Seven Types of Ambiguity (1930), C. Brooks & R. P. Warren Understanding Poetry (1938), Understanding Fiction (1943) Uuskriitika moto "The text itself" > tekstikesksus Põhiline uuritav zanr < luule Põhimõisted, alused Intentional fallacy kavatsuslik eksitus Affective fallacy tundmuslik eksitus Põhimeetod: lähilugemine e. eksplikatsioon (close reading), detailne ja nünssidele
(D) a completely 7. Women's magazines reflect the changing view of women's role in society. (A) distort (B) show (C) accentuate (D) promote 8. Courtship is a widespread prelude to mating among modern reptiles. (A) a tedious (B) an uncontrolled (C) a common (D) an essential 9. The elimination of carbon dioxide is a necessary process in all animals. (A) rejection (B) accumulation (C) deletion (D) production 10. In contrast to traditional rhetoric, modern rhetoric has shifted its focus to the audience or reader. (A) intensified (B) narrowed (C) maintained (D) altered 11. The enormous rigid plates that make up the outer shell of the Earth continually move relative to one another. (A) vast (B) ancient (C) dense (D) deep 12. The process of eutrophication involves a sharp increase in the concentration of phosphorus and nitrogen and promotes the growth of algae. (A) conceals (B) boosts
David Bordwell Narration in the Film 1985, kinokriitik, leiab, et filmi narratiiv on märksõnade kogum, millest vaataja ise filmi sõnumi, faabula konstrueerib. Filmi süzee on üksikelementidest koosnev sõnum. Faabula: sündmuste kronoloogiline järjestus. Süzee: sündmuste paiknemine tekstis. Stiil on seotud konkreetse meediaga; filmistiili moodustavad erinevad kinematograafilised võtted. Seymour Chatman Coming to Terms: the Rhetoric of Narrative in Fiction and Film 1990. Filmis on olemas ka jutustaja, kes on erinevalt verbaalsest kunstist tehniline vahendaja: audio- ja videosignaal. Audiosignaal: liik (müra, hääl, muusika); päritolu (kaadrisisene, kaadritagune kuuldekauguses asuv signaal, nt hääl naabertoas, või kommenteeriv, nt inimlik jutustaja). Videosignaal: kujutise liik (taust, koht, näitleja: välimus, tegevus); kujutise töötlus (kinematograafia valgustus, värvid, kaamera:
Thoreau's books, articles, essays, journals, and poetry total over 20 volumes. Among his lasting contributions were his writings on natural history and philosophy, where he anticipated the methods and findings of ecology and environmental history, two sources of modern day environmentalism. His literary style interweaves close natural observation, personal experience, pointed rhetoric, symbolic meanings, and historical lore, while displaying a poetic sensibility, philosophical austerity, and "Yankee" love of practical detail. He was also deeply interested in the idea of survival in the face of hostile elements, historical change, and natural decay; at the same time he advocated abandoning waste and illusion in order to discover life's true essential needs
Children in the UK are currently one of the most marginalized groups in society in which their perceived intellectual incompetency has prevented them actively participate in society. However, in the midst of this paradox where children`s voices are often muted and downplayed by the society, there is nevertheless increasing commitment towards the enactment of children`s rights agenda in Wales for instance that goes beyond the rhetoric around children`s participation in society. The Welsh Government along with Swansea Council has gone great lengths in terms of recognising children as active citizens with unique and valuable insights that may not be available to adults. By regarding children`s rights on the basis of all its activity, both the Welsh Government and Swansea Council are determined of working towards the adoption of the UNCRC in every school in Wales and Swansea. Both authorities recognize
But Macbeth doesn't see it that way, not at first. H e thinks only that ruthless ambition leads to power, to being king. But the story, summoned into life in response to Macbeth's thirst for power, teaches him a lesson in N O B A form. Ambition leads not only to being king, but also to Macbeth's destruction. T h e words "but" and "however," as lawyers know, are very useful for setting terms and conditions, and can be powerful tools of rhetoric and storytelling. A story is like a long sentence or a paragraph, with a subject, the hero; an object, the hero's goal; and a verb, the emotional state or physical action of the hero. "So and so wants something and does something to get it." T h e N O B A concept introduces the word "but" or "however" into that sentence. N o w it's "So and so wants something and does something to get it, but there are unexpected consequences, forcing so and so to adapt or change in order to survive."
The music is reminiscent of contemplation on a summer evening; already the clouds cover the Sun. The use of the marimba catches attention as a peculiarity, both in the Fourth and Fifth Symphony, the instrument is rarely used by Estonian composers. Its timbre creates a mysterious and oriental feeling. The final chord of the Fifth Symphony, a B flat minor tonic with a diminished fifth, expresses discontent and grieving at hopelessness. In the symphonic music of Heimar Ilves there is no rhetoric, no brilliant wit, no humour. The composer is pondering over the principal challenges of life and considers them in a gripping way. His music has been much more widely performed abroad that in Estonia. His symphonies have been received well in Berlin, Moscow, St. Petersburg, Minsk, Baku, etc. The main performer of his works has been Prof. Roman Matsov, a well-known Estonian conductor. The composer did not deny modern techniques of composition but nevertheless
not, in general, propositional in character [at all] . . . Seeing as is not seeing that" (p. 45). Moreover, if a given sentence did have a metaphorical meaning, we would expect that that content could be fairly accurately expressed by some paraphrase, even if the paraphrase were cumbersome, prolix, flat, bor- ing, or all of those. Now, Davidson's attack on metaphorical meaning can be exaggerated, as it is in spots by his own rhetoric. As I said, it is presented as a scorched- earth or zero-tolerance policy. But in fact Davidson concentrates his critical arguments on the idea that linguistic expressions change their meanings in metaphorical usage; his bête noire is the positing of linguistic ambiguity. And at one important point he is careful "not to deny that there is such a thing as metaphorical truth, only to deny it of sentences" (p. 39). This leaves open the possibility that there is a middle way or compromise position
tends to restrictions on information. In an age when the ability to acquire, store, and manage information increasingly affects access to wealth and power, it is im- portant to understand how we typically react to attempts to censor or otherwise constrain our access to information. Although much data exist concerning our re- actions to observing various kinds of potentially censorable material-media vio- lence, pornography, radical political rhetoric-there is surprisingly little evidence on our reactions to the censoring of this material. Fortunately, the results of the few studies that have been done on censorship are highly consistent. Almost invariably, our response to banned information is to want to receive that information to a greater extent and to become more favorable toward it than we were before the ban. (Ashmore, Ramchandra, 8(: Jones, 1971; Wicklund 8(: Brehm, 1974; Worchel 8(: Arnold, 19]3; Worchel, 1992).
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