Eloquence

Simgesel sistemiyle görünür olan dil, onu kullanan bireyin evrene ve ögelerine bakışını, düşünüş biçimini sunar ve böylelikle toplumu seslendirerek ve topluma seslenerek yaşama eşlik eder. Anlamı inşa eden insan, dili konuşarak onu yeniden üretmiş olur. Bu da ancak dilsel göstergeler yoluyla gerçekleşebilmektedir. Sesin söze dönüşmesiyle gösterdiği şey; söylenişi, çağrışımları ve anlam alanları gibi birçok öge Doğu ve Batı dünyasında çeşitli boyutlarıyla araştırma konusu edilmiştir. Bunlar arasında kavram, kelime ve nesne arasındaki ilişkiler de yer almaktadır. Dile ait bu bilimsel disiplinlerin kapsamlı ve geçmişi bakımından en önemlilerinden biri belagattir. Sözün doğru, güzel, yerinde ve zamanında dinleyicinin durumunu gözeterek söylenmesiyle ilgilenen belagat, kullandığı malzeme bakımından ve çeşitli yönlerden göstergebilimle örtüşür. Bunda klasik belagatin ve Batı'daki çalışmaların, Aristo tarafından sistemleştirilen klasik mantıktan beslenmesinin payı vardır. Bu çalışmada İslam mantıkçılarının üzerine eğildiği delalet kavramı ile Saussure ve Peirce'in üzerinde durduğu gösterge kavramı ele alınacaktır.

This paper analyzes Samuel Beckett's Waiting for Godot (1954) and Harold Pinter's The Dumb Waiter (2003) by focusing on their affinities and differences. It is an analytical literary study from a linguistic standpoint using Kenny's (2011) ideas. In addition to focusing on differences, the aim of this study is to scrutinize silence and its different meanings inasmuch as silence is a distinctive feature that groups and differentiates both plays. The study sheds light on a different aspect of research. Hence, besides focusing on interpreting speeches, this paper analyzes silences in both plays. It vindicates that silences are as important in literary interpretation as speeches. While Beckett's silences indicate the void of modern life, Pinter's silences convey threats and violence. Albeit much attention is given to verbal utterances and silences are generally neglected in terms of literary analysis, they are a sine qua non in terms of understanding Beckett's Waiting for Godot and Pinter's The Dumb Waiter and most importantly understanding the different languages of silence that greatly contribute to the whole meaning of both plays. Consequently, silences deserve much attention in literary interpretation as speeches and they are highly eloquent.

As a way of »performing the law«, courtroom
speeches have been a fundamental component of
the legal ritual and a basic component of lawyers’
identities in many countries with civil law traditions:
lawyers have presented themselves and have
been culturally perceived as legal experts who
make use of emotional strategies in order to
achieve their aims in court. Within the courtroom,
emotions have been both rhetorical tools and
goals, especially in criminal trials where forensic
eloquence aimed to create an emotional environment
that was favourable to the client. In France, a
rich literature on the art of forensic rhetoric was
both the result and the basis of a (re-)construction
of a tradition that was extremely self-conscious,
self-reflective and fundamentally emotional. The
present work analyses the role of emotions in
lawyers’ courtroom performances in the French
legal culture from the beginning of the nineteenth
century to the present. Its purpose is to identify the
main themes related to the use of emotions in the
pleading that legal professionals themselves have
considered important – albeit with differing opinions
– in the past three centuries. More broadly,
this study explores reason / dispassion and emotion
in legal practice beyond their longstanding dichotomy.
Investigating the courtroom speech as a
prototypical forensic performance through the perspective
of the legal professionals themselves shows
how reason and emotion have been continually
intertwined and how legal professionals have consciously
strategized approaches to the complex
interplay between them in the judicial processes.
[p. 286–295]
lawyers, courtroom, emotions, rhetoric,
eloquence

The analysis of the numerous narratives dedicated to the feminine embassy sent to Coriolan shows what makes the specific efficiency of the “matronal speech”. These narratives, written in Greek or in Latin, fit into a tradition and resort to diverse models to show the specificity of the feminine speech acts ; these models may be literary ones or they can be inspired by existing social practices. In the Livian version, the persuasive strength of Veturia’s speech (oratio), the mother of Coriolan, leans on the visual dimension of the picture she composes with the group of the women in mourning around her. But the poignant effect (movere) of her speech is also stressed by tears and collective lamentations of the matrons, an attitude evoking that of the Roman supplications. The narratives in Greek draw more from the tragic to build the figure of the “mother” and the “supplicant”. But the historic fiction of Coriolanus also resonates with the episode of the Sabine women who, by their words and prayers, knew how to convince their fathers and husbands to sign the peace. The exemplary value of this intervention creates a kind of “tradition of the exception”, which appears characteristic of the feminine action in Roman history.

This article argues that Kant's attack on the ars oratoria in §53 of the Critique of the Power of Judgment is directed against eighteenth-century school rhetoric, in particular against the "art of speech" (Redekunst) of Johann Christoph Gottsched. It is pointed out that Kant suggests a revision of Gottsched's conception of "true eloquence," which was the predominant rhetorical ideal at the time. On this basis, and in response to recent discussions on "Kantian rhetoric," Kant's own ideal of speech is addressed. It emerges that he favors a culture of speech embedded in moral cultivation, which excludes any disciplinary form of rhetoric.

La relation entre l'éthique et la rhétorique, largement débattue par les philosophes et les rhétoriciens de l'Antiquité classique, est aussi l'un des thèmes principaux de la littérature égyptienne antique, particulièrement dans les fictions narratives dans lesquelles les pouvoirs du discours sont souvent mis en scène. Dans plusieurs œuvres littéraires du Moyen et du Nouvel Empire, la confrontation d'un personnage éloquent avec une situation nécessitant un jugement ou une appréciation morale pose le problème des possibles déviances que l'art du discours peut faire subir aux valeurs de la vérité-justice, la Maât. Par l'analyse d'œuvres telles que le Conte du Paysan éloquent ou le Conte de Vérité et Mensonge, une évolution peut être mise en évidence dans l'appréciation faite de la duplicité de la rhétorique : tandis que la littérature du Moyen Empire offre l'alternative d'une éloquence régulée par une norme qui lui soit propre, l'art du discours est présenté, au Nouvel Empire, comme totalement indépendant des valeurs qu'il véhicule. De manière générale, l'image littéraire de la rhétorique présentée par les auteurs égyptiens illustre leur conscience aiguë de la complexité des relations entre le discours et le réel.

The Judicial Reform of 1864 was a turning point in the life of Russian society. It introduced the system of jury courts and established the profession of an attorney. First forensic orators were heavily influenced by Russian literary real- ism with its psychologism, representation of personality in its development, and description of milieu (environment). In this article, we analyse F. Dostoevsky’s views on forensic oratory and system of jury courts. Mikhail Bakhtin in his work Problems of Dostoevsky’s Poetics introduced the idea of polyphony, which he perceived as the highest expression of dialogism. But, as our analysis shows, dialogue in Dostoevsky’s novels turns to be the duality: voices of his characters are the product of author’s monological idea, and they respond to author’s inner speech. Social dialogue in Dostoevsky’s novels is substituted by inner speech, which leaves no place for an independent interlocutor, who has free will and his own psychological experience. In the context of Soviet culture, Dostoevsky’s texts were, undoubtedly, dialogical. But in the context of Russia of the second half of the 19th century, his views on the judicial system, his negative attitude to social dialogue and judicial polemics were destructive to the Russian democratic institutions.

The Arabic language has a rich history of literary criticism and theory, starting from the 8th century CE up to the 21st century. This literary criticism and theory engages with a poetic tradition that dates back to pre-Islamic times. The inquiry into literary quality was motivated by an interest in evaluating poetry, a general concern with eloquent speech, whether in verse or prose, and by the desire to articulate the beauty of the Quran. The transmission of Aristotle s Poetics into Arabic also spurred interest in the poetic, particularly in Arabic philosophy. The study of eloquence crystallized into a standardized science by the 13th century CE, with branches focusing on (1) the role of syntax in literary beauty (the science of meanings); (2) simile, metaphor, and metonymy (the science of elucidation); and (3) rhetorical figures (the science of rhetorical figures). The aesthetic developed in the early criticism of the 9th and 10th centuries was concerned with articulating the merits of an idealized classical style of pre-Islamic poetry, from which the modern poets of the early Abbasid period diverged. This classically oriented aesthetic was dominated by a concern with the truthfulness and naturalness of poetry, typical of the style of the ancients, on the one hand, and the limits of unrealistic imagery and affected artificiality, which characterized the more ornate modern Abbasid style, on the other. This binary outlook shifted after the 10th century, however, to an aesthetic of wonder. A theory of aesthetic experience began to develop, therefore, which was based on the ability of poetic language to evoke wonder in the recipient. As a result, wonder-enhancing characteristics such as strangeness, the unexpected, and the rare became essential components of aesthetic judgment. Moreover, the ability of language to make meaning manifest in ways that allow for an experience of discovery and hence wonder, became the foundation of aesthetic inquiry in post-10th century Arabic literary theory.

Forme lyrique de circonstance, le toast a connu une grande fécondité au cours du XIXe siècle, une fécondité partisane, collective, à visée démocratique ou en support de propagande. Quand les temps démocratiques s’interrompent en 1851, la forme-toast se métamorphose en poème. Peut-être alors, conserve-t-elle en son lieu des traces de sa pratique mondaine et militante révolue comme medium de fraternité, hypothèse qui suppose de relire les toasts de Mallarmé et Verlaine, les variations autour des chansons à boire de Baudelaire, en les inscrivant dans une nouvelle filiation, celle du Chant des ouvriers de Pierre Dupont ou encore du « Toast à la Révolution » écrit par Proudhon à la suite de la révolution de 1848.

Abstract
As an occasional lyrical form, the toast proved itself very productive throughout the 19th century, with a partisan, collective productivity usually aiming for democracy or supporting some form of propaganda. When 1851 put a stop to democracy, the toast took on the shape of a poem. Does it not from then on maintain at times traces of the worldly and militant practices it used to have ? Such a hypothesis requires re-reading Mallarmé’s and Verlaine’s toasts, and Baudelaire’s variations on drinking songs, as heirs to a new ancestry, that of Pierre Dupont’s Chant des ouvriers or of Proudhon’s « Toast to the Revolution », written in the aftermath of the 1848 revolution.


Pour citer cet article :
Dominique Dupart, « Le Toast lyrique. Fraternités du toast à la fin du XIXe siècle », Romantisme N°186 (4/2019), pp. 99-109, Armand Colin. Disponible sur : https://www.revues.armand-colin.com/lettres-langues/romantisme/romantisme-ndeg186-42019/toast-lyrique-fraternites-du-toast-fin-du-xixe-siecle

"Language and its Public Features: Reorganizing the Trivium in Locke's Essay and Port-Royal Logic" The new theory of language in the 17th century coincides with the end the traditional order of disciplines in the trivium (grammar, logic and rhetoric), which in the mediaeval times provided a comprehensive view of the problems of discourse. The article focuses on some key passages in Port-Royal Logic and Locke's Essay that provide us with a typical early modern scheme of linguistic representation, characterised by heavily emphasized dualism of ideas and words. Since ideas are also the meanings of words and are ontologically essentially private, one can raise the question, where in this analysis of language is it even possible to locate its public features. The article tries to show that private language is not only possible for Locke and the Port-Royalists, but that it is even a necessary and primary character of language. Language becomes a public medium of communication only on the junctures of private meanings constituted by the “common use” of words. The article then focuses on almost complete marginalisation in the two works of the theory of public speech. Rhetoric, in the 17th century often reduced to mere eloquence, has no place in philosophy, and the duties of making speeches persuasive are taken over by reason alone. To show how the domains of jurisdiction of the trivial disciplines had been transformed in the linguistic theories proposed by the Port-Royal Logic and Locke, one can construct a hypothetical early modern trivium in the light of the following order: idea – word – figure, or, logic – grammar – rhetoric. Rhetoric is found to have kept its structural place only to be singled out as dangerous.

Resumo: Este artigo possui como objetivo fundamental uma exposição do modo como Hobbes compreende o sentido da história do ponto de vista filosófico. Para esse propósito utiliza-se uma análise da sua obra Behemoth ou o Longo Parlamento pelo qual se dispôs a analisar e refletir os acontecimentos que engendraram a guerra civil em seu país. Tal exposição expressa de forma bastante coerente o modo como Hobbes apropria-se metodologicamente dos procedimentos da história para ratificar seus argumentos filosóficos acerca das causas da revolução. Esse fato, por sua vez, ratificar o modelo de prática historiográfica que exalta uma relação profunda entre os relatos dos antigos com aqueles proferidos pelos modernos. .