I like punk rock. I like girls with weird eyes. I like drugs but my body and mind won’t allow me to take them. I like passion. I like things that are built well. I like innocence. I like and am grateful for the blue collar worker whos existence allows Artists to not have to work at menial jobs. I like killing gluttony. I like playing my cards wrong. I like various styles of music. I like making fun of musicians (...) who I feel pladgerise or offend music as art by exploiting their embarrassingly, pathetic versions of their work. I like to write poetry. I like to ignore others poetry. I like vinyl. I like nature and animals. I like to swim. I like to be with my friends. I like to be by myself. I like to feel guilty for.. (shrink)

When "Aristotle on Emotion" was first published it showed how discussion within Plato's Academy led to a better understanding of emotional response, and how that understanding influenced Aristotle's work in rhetoric, poetics, politics and ethics. The subject has been much discussed since then: there are numerous articles, anthologies and large portions of books on emotion and related topics. In a new epilogue to this second edition, W.W. Fortenbaugh takes account of points raised by other scholars and clarifies some (...) of his earlier thoughts, focusing on the central issue: how Aristotle conceived of emotional response. Among other matters, he considers laughter, emotion in relation to belief and appearance, the effect of emotion on judgement, and the involvement of pain and pleasure in emotional response. (shrink)

The influence of Greek sources on the Arab philosophers is both obvious and important. What is less clear is how the quality of the translations from which the philosophers worked affected their understanding of the points that the Greek writers were making. This article investigates one small but self-contained topic from within the field of translation literature, covering the translations of poetic quotations in the Rhetoric of Aristotle in its Arabic translation, together with an analysis of the types of (...) mistakes to be found there. In itself this is of no more than curiosity value, but an application of the lessons to be learnt here to a linguistic study of Arabic philosophical commentaries, and, by extension, to philosophical theory, will be of clear importance. (shrink)

Opening with a consideration of the distribution of the two graphic acts — drawing and writing — this article offers a comparative study of Jacques Derrida's and Jean-Luc Nancy's respective exhibitions and catalogue essays on the subject of drawing. Through a comparative examination of what I take to be their central theoretical contributions to the study of drawing — Derrida its ‘rhetoric’, Nancy its ‘rhythm’ — this article moves on to suggest how these concepts inform a theory of poetic (...) lineation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.4 (2003) 376-379 [Access article in PDF] Rhetoric and Poetics in Antiquity. Jeffrey Walker. New York: Oxford University Press, 2000. Pp. xii + 396. $65.00, cloth. According to Jeffrey Walker, poetry is among rhetoric's true progenitors. Rhetoric was derived, he argues, not from the usual and oft told forensic or political sources but from an ancient argumentative mode that came to (...) be known as epideictic and that, long before Aristotle, included poetry. For Walker, this ur-epideictic was a broadly considered practice of artfully composed persuasive discourse: epideiktikon, "the rhetoric of belief and desire," as opposed to pragmatikon, "the rhetoric of practical civic business" (10). The former is primary and existed ages before rhetoric itself had a name; the latter is secondary because it depends upon and appeals to the beliefs and desires cultivated by the former. Recent discussions, as this well documented work suggests, have prepared us for a reconsideration of rhetoric's origin, perhaps even such a drastic one as this book proposes. Walker's aims, however, are not confined to revising rhetoric's history.The import of his thesis goes several steps farther to reflect his dismay with modern poetic practice and its underlying educational tradition. In that dismay, Walker's work passes beyond the revisionary and turns toward the subversive and polemic. This turn is seen best not in his thesis but in his hypothesis, his "plot": "the dominant notions of 'poetry' and 'rhetoric' that modern culture has inherited—and its notions of 'poetry' in particular—are largely products of the grammatical tradition in late antiquity" (311), a tradition which has proved stifling.In sum, Walker seeks not simply to revise history but also to adjust our educational and critical ideas and, above all, to improve the practice of poetry. In attempting briefly to set forth his thesis and hypothesis, I have surely misrepresented his manner. His stance is not exactly confrontational, although in the ultimate reckoning the reader will find that Walker pulls no punches about his aims. Revisionary, to an extent subversive, and at least somewhat polemical if not exactly confrontational—all adjectives fit, as I shall show in a review that, as I say, may regretfully damage Walker's rhetorical skills by making his case seem simpler, plainer, and far less interesting [End Page 376] than in fact it is. Indeed Walker's own skill as a rhetorician is particularly gratifying and persuasive. It's always gratifying and persuasive to find a rhetorical specialist who is adept at communication, relaxed in controversy, crafty in his use of figures (e.g., Isocrates's "Henry-Jamesian periods," 177), and sharp in his knowledge of literature.Walker's argument proceeds seamlessly and smoothly, as if offering only a kind of alternate to the usual view of our intellectual history: the nature of neither rhetoric nor poetry need be confused with the politics and taste that have necessarily driven the fortunes of each. After a brief excursus into comparative rhetoric (13-14), Walker turns his attention toward another kind of diversity, or lack thereof: the confining theoretical and critical sameness that has prevailed in our Western attitudes toward rhetoric and poetry since their ancient appearance as "conceptualized discursive practices" (17). Again, Walker's alternate to the usual view emerges as a kind of rancor-free "on the other hand" stance, or more in line with his own terminology, as the sort of tactic that from the time of the sophists has been known as making the lesser case the stronger. Nonetheless, the shortcomings of the traditionally dominant case grow exponentially until finally, as Walker's argument turns to near-polemic, they become shackles on the nature of the two arts.Crucial to his thesis is his presentation of the enthymeme. Here, more than in his discussion of epideictic, is the linchpin of his argument. At first he adverts to rhetoric as a Ciceronian combination of wisdom and eloquence or as a Quintilianesque ideal of wisdom speaking copiously, two venerable, widely accepted, perhaps even common-ground definitions that (like his idea of the epideictic) allow strategically for considerable... (shrink)

The most recent attempt to explain Aristotle's use of in Poetics 13 is that of T. C. W. Stinton , 221–54). Stinton insists that must not be restricted to any one definition, but should be understood to include a ‘range of applications’ embracing both moral error and ‘ignorance of fact’.

Soccer has long been known as 'the beautiful game'. This multi-disciplinary volume explores soccer, soccer culture, and the representation of soccer in art, film, and literature, using the critical tools of aesthetics, poetics, and rhetoric. Including international contributions from scholars of philosophy, literary and cultural studies, linguistics, art history, and the creative arts, this book begins by investigating the relationship between beauty and soccer and asks what criteria should be used to judge the sport's aesthetic value. Covering topics (...) as diverse as humor, national identity, style, celebrity, and social media, its chapters examine the nature of fandom, the role of language, and the significance of soccer in contemporary popular culture. It also discusses what one might call the 'stylistics' of soccer, analyzing how players, fans, and commentators communicate on and off the pitch, in the press, on social media, and in wider public discourse. The Aesthetics, Poetics, and Rhetoric of Soccer makes for fascinating reading for anybody with an interest in sport, culture, literature, philosophy, linguistics, and society. (shrink)

A critically important development in the tradition of philosophy, as understood by Arabic authors, was the inclusion of both rhetoric and poetics within logic. While these writers' conception of the logical Organon gave appropriate place to the theory of demonstration as found and defined in Aristotle's Posterior Analytics, they added to it the syllogism not only of dialectic, but of rhetoric and poetry as well. By attaching the latter two arts to logic, the Arabic philosophers created a (...) contextual claim about rhetoric and poetry which tended both to weaken the status of either one as a mode of nonlogical discourse and yet potentially to enhance their importance as tools of cognitive activity by recognizing in them some form of syllogistic reasoning. (shrink)

The author, in this series of essays, depicts the law as an essentially literary, rhetorical, and ethical activity. The topics discussed include a talk to students entering law school, describing the intellectual activity of the law, an exploration of the structure of legal thought and expression, and a dialogue which explores the ethics of argument.

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our (...) brain constructs the world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

This volume comments on the sources for understanding Theophrastus' contributions to rhetorical and poetic theory. The ancient sources themselves, the known titles of Theophrastean works, and the various reports concerning his doctrines are all considered.

Upon first encountering Immanuel Kant’s 1766 essay Dreams of a Spirit-Seer Elucidated by Dreams of Metaphysics, one is immediately struck by its literary style. Indeed, Dreams constitutes a unique moment in Kant’s literary development—never before had he thrown himself with such fervor into the attempt to express his thoughts in a provocative manner, and never again would he indulge his poetic tendencies with such reckless abandon. Unsurprisingly, then, Kant’s poetic rhetoric in Dreams has long puzzled readers. Immediately following the (...) essay’s publication, Moses Mendelssohn voiced his perplexity about Kant’s mode of writing in it. In the early twentieth century, Ernst Cassirer noted this essay’s unorthodox... (shrink)

This work relates L. S. Vygotsky’s theory to the rhetorical and poetic pedagogy, which is a set of educational ideas and practices derived from the philosophical-educational tradition initiated by the Sophists. It is verified that the Vygotskyan concepts contribute to broaden the foundations of poetic and rhetorical pedagogy, presenting a psychology of language that integrates decorum, kairos and antilogical argumentation within aesthetic experiences; communication sustains knowledge and reflection of reality, aiming at the strengthening of the individual’s identity, the education of (...) the creative subject and the improvement of the collective. It is considered that the rhetorical and poetic character of Vygotsky’s theory encourages the contemporary school to be a space for investigation and search for creative solutions, contradicting the measurementist pedagogical tendencies that dehumanize education. (shrink)

Michele Kennerly's ambitious book sends a gust of fresh air through the field of ancient rhetoric. But that figure doesn't really suit her metaphorics—such a central aspect of the project. To hone in on these, we need to come down to earth—to the material substance of wax tablets and papyrus book rolls, and the bodies of text produced on them. Editorial Bodies is a study of the ways ancient Greek and Roman poets and orators engaged in working on and (...) over texts in a process of "recursive composing" with consequences exceeding any narrow considerations of grammatical niceties. As Kennerly explains at the outset through a careful etymological introduction, our English word... (shrink)

A bilingual edition of several of this influential twelfth-century philosopher’s greatest works.

이 연구는 비코(Giambattista Vico)와 노발리스(Novalis)의 저작 속에서 시적 사유가 철학에서 가지는 의미를 고찰하였다. 시적 사유는 철학적 사유의 원천적 특성을 지시하는 용어이다. 그들에게 시적 지혜 또는 질적 사유로 명명된 시적 사유는 객관주의의 양적 사유에 빠져서 창백해진 철학에 생기를 되살리는 계기를 제공한다. 시적 사유는 감각, 지성과 의지가 하나로 통합된 감정을 표현하는 형태이다. 객관주의는 감각과 지성을 분리하면서 감정을 사유에서 배제하여 생동성을 상실하게 만든다. 시적 사유의 감정은 개별 주관이 아니라 공동체의 공감으로 승화된 것이다. 이 감정은 철학이 신비와 경이로 부르는 초월적인 정신의 현전이며 초감각적인 현상을 (...) 해명하려는 토대이다. 철학은 공감적 세계가 존재한다는 경이에서 출발하며, 개별적인 감각에 내재하는 공감적 세계를 관조하는 보편적 사유가 된다. 공감적 세계는 초감각적인 현상으로서 정신이 대면해야 할 지평이다. 객관주의가 공감적 세계의 경이감을 배제하며 철학의 생동적 사유를 말살하였다. 철학은 시적 사유에서 잃어버린 경이를 발견한다. (shrink)

Michele Kennerly's ambitious book sends a gust of fresh air through the field of ancient rhetoric. But that figure doesn't really suit her metaphorics—such a central aspect of the project. To hone in on these, we need to come down to earth—to the material substance of wax tablets and papyrus book rolls, and the bodies of text produced on them. Editorial Bodies is a study of the ways ancient Greek and Roman poets and orators engaged in working on and (...) over texts in a process of "recursive composing" with consequences exceeding any narrow considerations of grammatical niceties. As Kennerly explains at the outset through a careful etymological introduction, our English word... (shrink)

_A bilingual edition of several of this influential twelfth-century philosopher’s greatest works._.