Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the (...) frieze is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

Cet article est né d'une double constatation, la première inspirée par l'étude du corpus d'Héraclite d'Éphèse, auteur ionien du 6ème siècle av. J.-C. dont il nous reste largement plus d'une centaine de Fragments considérés comme littéraux et censément extraits d'une œuvre dont la forme et l'ordonnance sont à ce jour inconnues, la seconde par la lecture des commentaires et interprétations qu'en proposent les spécialistes. C'est en effet en remarquant la variété des approches appliquées par les scientifiques pour parvenir à une (...) compréhension générale du corpus d'une part et les divergences d'interprétation qui en découlent souvent d'autre part que j'en suis venue à m'interroger sur l'importance du choix de la méthodologie au sein d'une activité faisant la part belle à un délicat travail de rapiéçage. Puis, c'est en tentant moi-même de restituer un sens à certains Fragments individuels d'Héraclite et, d'une manière plus globale, de les considérer comme les lambeaux épars d'une même toile déchiquetée que j'ai compris la difficulté de développer un commentaire à partir d'extraits émiettés dont ni l'organisation, ni la forme initiales ne sont déterminées. La prose poétique d'Héraclite ajoutant à ces difficultés engendrées par l'histoire de la transmission des problèmes de définition des termes-clefs d'une part et d'identification des figures littéraires qui jalonnent le corpus d'autre part, j'ai tenté d'illustrer dans cet article quelques questions méthodologiques représentatives de son oeuvre, et ce en prenant ancrage dans les hypothèses de polysémie et de niveau de lecture auxquelles nous confronte la notion de „feu“, récurrente au sein des vestiges de l'œuvre de l'Éphésien. En partant de l'analyse de deux Fragments ignés, à savoir B30 et B66, cet article tend donc à présenter principalement quatre problèmes ou questions méthodologiques que je crois avoir décelés aussi bien au sein des études héraclitéennes que dans mes propres recherches: (1) les méthodes d'interprétation choisies pour aborder des séquences parfois sibyllines et, par conséquent, difficiles à traduire ainsi que les principes qui les motivent, (2) le traitement de la polysémie et de l'oscillation entre sens littéral et sens littéraire d'une notion-clef que l'œuvre ne définit jamais explicitement, (3) la fiabilité de sources anciennes quant à l'interprétation des Fragments, (4) la difficulté d'établir des définitions stables et les postulats d'équivalence entre des termes-clefs se substituant aux ambiguités du texte. C'est en montrant, sur le terrain des Fragments même, comment se posent à nous ces questions méthodologiques que j'aborde les thèmes de la polysémie et des niveaux de lecture du terme „feu“ dans le corpus d'Héraclite pour illustrer, par quelques exemples, comment des choix méthodologiques peuvent conditionner l'ensemble d'une interprétation, selon les options que le chercheur décidera d'adopter ou non. (shrink)

In this article I claim that Leibniz's 1670 preface to a sixteenth-century text on rhetoric by Marius Nizolius offers a historical perspective on the relationship between figurative language and performativity in philosophical discourse. To begin with, although Leibniz argues in the Preface to Nizolius against the use of rhetoric, eloquence, and specifically tropes in philosophical discourse, nevertheless his prescriptions for philosophical clarity implicate a "channel of tropes" in what could be described as a retroactive, performative assignation of proper (...) usage. Moreover, the example that Leibniz supplies to illustrate the channel of tropes, namely a tropological account by which the Latin past participle fatum is said to have come to designate that which must necessarily come to pass, i.e., fate, directly connects Leibniz's claims about the channel of tropes to the performative fiat by which God decides for this world. Leibniz's fatum example indeed touches on the very question of how the articulation of fate takes on force, changes actuality, and thus is not simply of constantively "about" what it decrees. In the channel-of-tropes account of fatum, however, a metonymy of cause-for-effect fills in for the performative moment, in such a way that obscures a clear view of the performative causality of fate. I argue that this obscurity and the indirectness of metonymy are not accidental, but are in fact required, i.e., there is no better or more direct way to represent the bindingness of God's fiat on the necessity of future events. (shrink)

This article explores the correlations between linguistic figurative features and their corresponding conceptual representations, by considering their respective continuities and discontinuities in language shift. I compare the figurative encoding of emotions in Kriol, a creole of northern Australia, with those of Dalabon, one of the languages replaced by this creole, with a particular focus on evidence from metaphorical gestures. The conclusions are three-fold. Firstly, the prominent figurative association between the body and the emotions observed in Dalabon is, overall, not matched (...) in Kriol. Secondly, although this association is not prominent in Kriol, it is not entirely absent. It surfaces where speakers are less constrained by linguistic conventions: in non-conventionalized tropes, and gestures in particular. Indeed, some of the verbal emotion metaphors that have disappeared with language shift are preserved as gestural metaphors. Thus, Kriol speakers endorse the conceptual association between emotions and the body, in spite of the lower linguistic incidence of this association. The third conclusion is that therefore, in language shift, conceptual figurative representations and linguistic figurative representations are independent of each other. The former can persist when the latter largely disappear. Conversely, the fact that speakers endorse a certain type of conceptual representation does not entail that they will use corresponding linguistic forms in the new language. The transfer of linguistic figurative representations seems to depend, instead, upon purely linguistic parameters. (shrink)

Introduction: Major terms, their classification, and their relation to the book's objective -- The problem of analogous forms -- Natural logic, categories, and the individual -- Shift to individual categories, dynamics, and a psychological look at identity form versus function -- What is the difference between the logic governing a figure of speech and the logic that is immature or unconscious? -- What are the role and function of the self vis-à-vis consciousness? -- Development in the logic from immature to (...) mature modes -- Pathological and defensive logical forms -- The "I," identity, and the part-whole resolutions -- The "I," entropy, and the trope. (shrink)

Resumen: Este artículo se propone configurar la trama saber-tropo como estrategia para desvelar ataduras coloniales que aún persisten en las vidas cotidianas de sujetos situados y encarnados, cuyas existencias se desarrollan en condiciones de precariedad material, exclusión, explotación y no reconocimiento. Con un marcado carácter epistémico-metodológico, y tomando como base los postulados de la tropología, se discute sobre la noción de tropo y saber, además de señalar las posibles relaciones que entre ellos se pueden dar, para finalmente, en términos demostrativos, (...) plantear un procedimiento orientado a identificar y analizar los tropos que permiten ir desvelando lastres coloniales en las narraciones cotidianas. La relevancia de esta propuesta se asienta en la necesidad de ir avanzado en construir herramientas metodológicas que permitan comprender los principios que configuran el pensamiento decolonial. Desde allí, se propone al tropo como expresión y discusión figurativa del saber, debido a que este puede ser utilizado persuasivamente para afectar la forma en que se habita el mundo, al tiempo que permite comprender el accionar social y, consecuentemente, las matrices coloniales con las que debemos romper.: This article proposes to configure knowledge-trope plot as a strategy to uncover colonial ties that persist in the daily lives of situated and incarnated subjects, whose existences develop in conditions of material precariousness, exclusion, exploitation and non-recognition. With a marked epistemic-methodological character, and based on the postulates of the tropology, the notion of trope and knowledge is discussed, as well as pointing out the possible relationships that can occur between them, and finally, in demonstrative terms, to propose a procedure aimed at identifying and analysing the tropes that allow us to reveal colonial ballasts in everyday narratives. The relevance of this proposal is based on the need to construct methodological tools that allow us to understand the principles of decolonial thinking. From there, the trope is proposed as an expression and figurative discussion of knowledge, because it can be used persuasively to affect the way in which the world is inhabited, while at the same time it allows us to understand social action and, consequently, colonial matrices with which we must break. (shrink)

In recent years, scientists have increasingly taken to investigate the predictive nature of cognition. We argue that prediction relies on abstraction, and thus theories of predictive cognition need an explicit theory of abstract representation. We propose such a theory of the abstract representational capacities that allow humans to transcend the “here-and-now.” Consistent with the predictive cognition literature, we suggest that the representational substrates of the mind are built as ahierarchy, ranging from the concrete to the abstract; however, we argue that (...) there are qualitative differences between elements along this hierarchy, generating meaningful, often unacknowledged,diversity.Echoing views from philosophy, we suggest that the representational hierarchy can be parsed into:modality-specificrepresentations, instantiated on perceptual similarity;multimodalrepresentations, instantiated primarily on the discovery of spatiotemporal contiguity; andcategoricalrepresentations, instantiated primarily on social interaction. These elements serve as the building blocks ofcomplex structures discussed in cognitive psychology (e.g., episodes, scripts) and are the inputs for mental representations that behave like functions, typically discussed in linguistics (i.e.,predicators). We support our argument for representational diversity by explaining how the elements in our ontology are all required to account for humans’ predictive cognition (e.g., in subserving logic-based prediction; in optimizing the trade-off between accurate and detailed predictions) and by examining how the neuroscientific evidence coheres with our account. In doing so, we provide a testable model of the neural bases of conceptual cognition and highlight several important implications to research on self-projection, reinforcement learning, and predictive-processing models of psychopathology. (shrink)

The commentaries address our view of abstraction, our ontology of abstract entities, and our account of predictive cognition as relying on relatively concrete simulation or relatively abstract theory-based inference. These responses revisit classic questions concerning mental representation and abstraction in the context of current models of predictive cognition. The counter arguments to our article echo: constructivist theories of knowledge, “neat” approaches in artificial intelligence and decision theory, neo-empiricist models of concepts, and externalist views of cognition. We offer several empirical predictions (...) that address points of contention and that highlight the generative potential of our model. (shrink)

We compare bifocal stance theory's (BST) approach to social learning to construal level theory's (CLT) – a social-cognitive theory positing that psychological closeness to a model influences action-representation and thus modulates how concretely or abstractly observers emulate models. Whereas BST argues that social motives produce higher fidelity emulation, CLT argues that psychological closeness impacts cognitive construal and produces more concrete emulation across diverse motivations for emulation.

According to Lee and Schwarz, the sensorimotor experience of cleansing involves separating one physical entity from another and grounds mental separation of one psychological entity from another. We propose that cleansing effects may result from symbolic cognition. Instead of viewing abstract meanings as emerging from concrete physical acts of cleansing, this physical act may be appended with pre-existing, symbolic meaning.

The subject of medieval scribes is bound up with the question of textual authority. Scribes not only left their marks upon the manuscripts they copied, they also functioned as interpreters, editing and consequently altering the meaning of texts. Writers, however, did not simply employ scribes as copyists; they elaborated upon the figurative language associated with the book as a symbol and incorporated scribes into their texts as tropes. Such “ghostly scribes” provided authors with figures through which they could (...) project authorial personas, indicate what we would call generic categories, express a sense of community, or guide a reader's responses to a text. Though a writer like Chaucer employed scribal metaphors to signal his relative powerlessness, thereby indicating the outlines of a carefully conceived and concealed persona, women writers such as Hildegard of Bingen and Christine de Pisan exploited those same metaphors to signal both their sense of authority and their awareness of the social constraints placed upon it. The two most important English women writers of the late Middle Ages, Julian of Norwich and Margery Kempe, seem especially aware of the ways in which the deployment of a scribe could be used strategically, as a means of maintaining control over texts they profess neither to control nor to aspire to control. (shrink)

Although dual-process or divided-mind models of self-control dominate the literature, they suffer from empirical and conceptual challenges. We propose an alternative approach, suggesting that self-control can be characterized by a fragmented part versus integrated whole dynamic. Whereas responses to events derived from fragmented parts of the mind undermine self-control, responses to events derived from integrated wholes enhance self-control. We review empirical evidence from psychology and related disciplines that support this model. We, moreover, discuss the implications of this work for psychology, (...) neuroscience, economics, and philosophy. In particular, we highlight how this model addresses many of the conceptual and empirical short-comings of divided-mind models. We suggest that understanding self-control as the interplay between fragmented parts versus integrated wholes, moreover, provides novel insights and testable new hypotheses. (shrink)

In this article, I engage in a criticism of Jean François Lyotard’s tropological approach to Judaism, arguing that his articulation of the “the jew” as figural projection serves to establish and rigidify a number of freighted binaries such as those between reason and myth, philosophy and theology, and modern and postmodern. In comparison, I posit Theodor Adorno’s approach to tropes of Judaism as one which encompasses Lyotard’s productive emphases on the role of forgetting in subject formation while loosening these (...) same binaries. (shrink)

The instability of colonial representational economies, identities and tropes is the subject of analysis in this paper. I take as my starting point the anxieties that were generated during the late 19th century in relation to what I nominate the fictitiousness of settler subjects in colonial Australia. In order to examine these historical concerns and their explicitly gendered representations, I consider in detail one text, Rosa Campbell Praed's Fugitive Anne: A Romance of the Unexplored Bush (1902). This text was (...) published in 1902 and was one of a number of romance novels this author produced for readerships in both colonial Australia and England. This adventure romance features the trope of the Australian Girl and also engages in varying degrees with discourses of colonial ethnography that, to my knowledge, have not been examined in relation to the ideological production and effects of this figure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 116-136 [Access article in PDF] Being, Time, and Definition: Toward a Semiotics of Figural Rhetoric Carol Poster For if History in the transferred sense of particular books called "histories," is rather apt to be false: nothing but History in the wider and higher sense will ever lead us to the truth. The Future is unknown and unknowable. The Present is turning to Past even (...) as we are trying to know it. Only the Past itself abides our knowledge. --George Saintsbury, A Letter BookDefining and classifying figures of speech and thought have been among the more important tasks of rhetoricians and grammarians for more than two millennia. The inventional focus, however, of much modern rhetorical theory has tended to relegate figuration either, on the one hand, to the domains of literary criticism or linguistics (the heirs of ancient grammar) or, on the other hand, to an ancillary position. The concomitant marginalization of the study of figures has had a significant effect upon contemporary scholarship in historical rhetoric. Many of the seminal scholarly works on the history of rhetoric have denigrated or minimized the importance of figural rhetoric. As Brian Vickers (1990, 294-95) has mentioned, George Kennedy and numerous other historians of rhetoric (e.g., Clarke 1996, 34) tend to condemn the teaching of figural rhetoric as dreary, tedious, and otiose. Often, the very periods themselves in which the study of the figures was pursued most vigorously and extensively are omitted from or condemned by modern scholarly discussion. As Marjorie Curry Woods has pointed out (1995, 73-78), biases against the medieval period, especially as found in Charles Sears Baldwin (1928) and Kennedy (1963, 1980) have in many ways defined the contours of our discipline, especially our attitudes toward the study of figures and tropes. Late antiquity and the Middle Ages, the periods of "decline" so deplored by Baldwin, Vickers, Kennedy, and others, were those in which figural rhetoric flourished, and both the sheer [End Page 116] volume of extant figural treatises and the continuity of figural rhetoric from the Hellenistic period through such contemporary semipopular books as Arthur Quinn's Figures of Speech: 60 Ways to Turn a Phrase (1982) and William Espy's The Garden of Eloquence: A Rhetorical Bestiary (1983) demand attention from the historical scholar. Along with the trivialization of figures in contemporary rhetoric has come a drastic oversimplification of the semiotics of figural terminology, which, in turn, contributes to the trivialization of many recent accounts of figures. To recover a more complex understanding of the semiotics of figural terms, we must start with a historical understanding of figuration, because rhetorical terms are encased in numerous historical strata that determine our understandings of them. 1 As Richard Rorty (1984, 49-75) argues concerning the historiography of philosophy, rational and historical reconstruction are mutually interdependent. A brief history of figural rhetoric From antiquity through the present, lists of figures have either occupied substantial sections of general treatises on rhetoric or grammar or have been the subject of specifically figural handbooks. Use of what we might term highly figured speech appears to predate the development of theoretical models for analysis of figures by many centuries. The Homeric epics, which were to provide the standard examples of rhetorical figures for many subsequent centuries, use patterns of speech later to be named and classified as rhetorical figures, but neither figural terminology nor self-conscious reflection upon figures qua figures appears in the epics. Similarly, although Gorgias was renowned for his use of the "Gorgianic" figures that later took his name, there is no evidence that he attempted systematic catologuing or development of specialized terminology for the figures. The testimonia describing his use of poetic words and figures (DK82a1, DK82a2, DK82a4, DK82a32--translated in Sprague 1972) do not attribute to him any invention of technical terminology.The question of invention of specific terminology for rhetorical figures is part of a more general historical question of the development of rhetoric as a self-conscious field. As Thomas Cole (1991) and Edward Schiappa (1991) have pointed out, the first... (shrink)

This paper aims at demonstrating that the cognitive mechanisms underlying certain tropes (e.g. metaphor or metonymy) may assume variable degrees of conventionalisation, thereby giving rise to a range of phenomena along either side of the semantics/ pragmatics distinction. Examining specifically cases of metonymy, I propose a pragmatic account of creative, one-off metonymic expressions using the framework of relevance theory; my main argument is that metonymy is a variety of the interpretive use of language. I further look at degrees of (...) conventionalisation that a given metonymy may go through until it becomes fully semanticised, thus bringing about semantic change. My discussion should have farreaching implications for lexical semantics and the relevance-theoretic distinction between descriptive and interpretive use. (shrink)

The concept of a trope (understood as an individual property and not as a figure of speech) plays an important role in contemporary analytical metaphysics. It is, however, often far from clear what the logic of this concept really is. Indeed, there are two equally important intuitions underlying the concept of trope, two intuitions that generate two quite different conceptual frameworks. According to the first intuition, a trope is a particularised property – a property taken as an individual aspect of (...) a particular object. A trope is thus the colour of this table or the shape of this sculpture. In the light of this conception tropes are, as it were, direct abstractions from concrete individuals. According to the second intuition a trope is still such an individual (and abstract) colour or such an individual (and abstract) shape, but now it is not only abstracted from the concrete individual of which it is a trope but also taken in abstraction from the very fact that it has been abstracted this way. We can imagine that the cognitive access to these tropes is obtained by a kind of a double abstraction. All this can sound puzzling at first blush, but in what follows I hope to make the matter a little clearer. Let us anticipate briefly. On the second view, tropes are construed not so much as abstractions from concrete individuals, but rather as primitive items of which the concrete individuals are composed. Tropes so construed are, as it were, metaphysically prior to concrete individuals. We will call tropes of this kind unstructured tropes, whereas tropes conceived as aspects of individual things will be called propositional tropes. This terminology is justified because tropes understood as aspects of things seem to involve something like propositional structure, a structure that tropes conceived as primitive “building blocks” of reality definitely lack. It is sometimes believed that these two concepts of trope are nearly equivalent, that the difference between them is for the most part verbal. Yet it will turn out that there is an important ontological difference here. Propositional tropes are non-trivially propositional and unstructured tropes are non-trivially deprived of such a structure (althought not necessarily deprived of any dependence-links with respect to other tropes). It will be argued that tropes are metaphysically interesting only on the second conception (i.e., as primitive, unstructured items), whereas only on the first conception (tropes as propositionally structured entities) can they function as semantically efficient truthmakers. The moral of the paper will be that our trust in tropes must be mitigated. A trope ontology could plausibly be viewed as a serious metaphysical alternative, but its semantical possibilities should not be exaggerated. (shrink)

Produced in honor of White's eightieth birthday, _Re-Figuring Hayden White_ testifies to the lasting importance of White's innovative work, which firmly reintegrates historical studies with literature and the humanities. The book is a major reconsideration of the historian's contributions and influence by an international group of leading scholars from a variety of disciplines. Individual essays address the key concepts of White's intellectual career, including tropes, narrative, figuralism, and the historical sublime while exploring the place of White's work in the (...) philosophy of history, postmodernism, and ethics. They also discuss his role as historian and teacher and apply his ideas to specific historical events. (shrink)

In this updated edition of his brief, engaging book, Robert J. Fogelin examines figures of speech that concern meaning-irony, hyperbole, understatement, similes, metaphors, and others-to show how they work and to explain their attraction.

This is a historical survey of how and why the notion of the Ivory Tower became part of twentieth- and twenty-first-century cultural vocabularies. It very briefly tracks the origins of the tag in antiquity, documents its nineteenth-century resurgence in literary and aesthetic culture, and more carefully assesses the political and intellectual circumstances, especially in the 1930s and 1940s, in which it became a common phrase attached to universities and to features of science and in which it became a way of (...) criticizing practices and institutions deemed to be ‘irrelevant’. The paper concludes by reflecting on the tag's relationship to pervasive cultural tropes and how its modern history may be used to appreciate better where science and its academic setting now stand in the ancient debate between the active and contemplative lives. (shrink)

Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to (...) Anton Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film. (shrink)

Ethnographic research, anthropological theory, and the understanding of the objects of inquiry, are co-created through figuration (using tropes and rhetorical figures) and techniques of persuasion. Delving into descriptive ethnography and theoretical texts spanning across classical monographs and recent texts in cultural anthropology, Culture Figures places rhetoric and rhetoricity as central to the discipline's self-understanding. It focuses on how understandings of 'culture' and social life are shaped and conveyed in cultural anthropology through textual rhetoric. The book demonstrates how (...) processes of using tropes and modes of persuasion underlie the creation of meanings or misunderstandings in society. (shrink)

In this updated edition of his brief, engaging book, Robert J. Fogelin examines figures of speech that concern meaning--irony, hyperbole, understatement, similes, metaphors, and others--to show how they work and to explain their attraction. Building on the ideas of Grice and Tversky, Fogelin contends that figurative language derives its power from its insistence that the reader participate in the text, looking beyond the literal meaning of the figurative language to the meanings that are implied. With examples ranging from Shakespeare, (...) John Donne, and Jane Austen to e.e. cummings, Bessie Smith, and Monty Python, Fogelin demonstrates that the intellectual and aesthetic force of figurative language is derived from the opportunity it provides for unlimited elaboration. Fogelin presents a modern restatement of the view, first put forward by Aristotle, that metaphors are to be treated as elliptical similes. He then offers a detailed defense of this "comparativist" view of metaphors in response to criticisms that have been brought against it by a series of eminent philosophers. This new edition is updated to reflect more recent work on the topic and will interest philosophers, linguists, and literary theorists. (shrink)

This essay explores the trope of sleep in Peter Sloterdijk’s philosophy of anthropotechnics. Sleep is shown to be important for our understanding of Sloterdijk’s project as an index of his subject’s larger, hidden complex of inertias, habits, and corporeal requirements and processes that dominate subjective life and that exist outside the mastery of ego and consciousness. The essay explores this thesis by considering a series of figures that appear in Sloterdijk’s writings and interviews: the philosopher Heraclitus with his dismissive (...) remarks on sleep, the insomniac Emil Cioran, the sleepwalker in Romantic thought. As the essay develops, it shows how, given such a subject formation, anthropotechnics is properly conceived as a management of the subject’s automatic processes to trick or repurpose or redirect them to work in concert or coincidence with the anthropotechnical project, rather than against it. (shrink)

A Lasting tradition among the ancients marked Sicily as the birthplace and Tisias and Corax as inventors of the art of rhetoric: and in this tradition, legendary though it became, there is a stricter truth than in most of the stories related about the foundation of invented arts. We, with more elaborate historical views, shall still say of rhetoric that it was created at a certain epoch; and can still point to the Sicilians Tisias and Corax as its authors. Oratory, (...) to be sure, has existed almost as long as speech. Its beginnings are prehistoric, and must in any case be imperceptible; and if by rhetorician we meant no more than one who uses speech with more than common effect, we might set the origin of rhetoric as far back as we chose, and could hardly bring it lower than the beginning of recorded literature. Indeed we are told that under the Antonine Emperors the eminent scholar Telephus of Pergamum wrote a book on Rhetoric in Homer, in which he illustrated from the Poet the whole contemporary system of the art down to the thirteen constitutions of Minucian; and in the same spirit the Venerable Bede, resenting the claim of the Greeks to have invented tropes and figures of speech, wrote a short work to show that they could all be found in Holy Scripture. But such inquiries, even when conducted less foolishly than by Telephus and less incompetently than by Bede, are irrelevant to the proper history of rhetoric. Let the practice of oratory have begun when it may, the first attempts known to us in Classical Antiquity to formulate a series of principles for the art of speech were made in the fifth century before Christ. These earliest systems were naturally very imperfect: they could not immediately be either comprehensive or well organized. But they were something that had not existed at all before: methodical principles for speaking. At the moment when these were first set out the art of rhetoric began. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric and PhilosophyMartin WarnerPeter Ramus continues to muddy the waters where philosophers meet rhetoric. Aristotle defined rhetoric in terms of the modes of persuasion as an independent discipline, the counterpart of dialectic. Ramus’s sixteenth century revision of the intellectual map reclassified it as at best an adjunct of dialectic, to be conceived in terms of elocutio and pronunciatio, an approach that in the English-speaking world led to its reduction (...) to mere ornamentation—the application of figures and tropes—opening the way to Stoppard’s (anachronistic) debasement: 1Guildenstern: What in God’s name is going on?Rosencrantz: Foul! No rhetoric. Two-one.Both approaches are current, which makes for confusion. Two characteristic examples will suffice. The approach to rhetoric of Jeff Mason’s Philosophical Rhetoric is broadly Aristotelian but Roger Crisp’s review criticizes the book on the ground that “some philosophers just do not employ rhetorical techniques,” techniques which are broadly identified with the figures and tropes. Similarly, my own introduction to The Bible as Rhetoric opens by defining rhetoric in Aristotelian terms, but the Times Literary Supplement reviewer—evidently a closet Ramist—takes one of my contributors to task for using the word “rhetoric” in his title but providing “very little in the way of an examination of... linguistic features.” 2These examples illustrate the way two main conceptions of rhetoric appear to be at play when philosophers discuss the topic; one is concerned with the means of persuasion, the other with qualities of [End Page 106] style. Of course these cannot always easily be separated, for it may be that certain qualities of style figure prominently among the available means of persuasion, but a useful test of the conception an individual has of the topic may be judged by how he or she reacts to the (deliberately provocative) opening sentence of my introduction to The Bible as Rhetoric: “Rational argument is one of the most effective rhetorical modes we know.” Mason’s conception of the “plain style” of the philosophical logicians as rhetorical style fits this Aristotelian approach well, but for the more Ramist Crisp such examples are “unlikely candidates” for rhetorical status and Mason’s conception “forced.” So it may be as well to consider contemporary work on the philosophy/rhetoric borderline under two heads: the Ramist and the Aristotelian. But that borderline itself invites a further distinguo; philosophical analysis of rhetoric and rhetorical analysis of philosophy, though this distinction, too, is not absolute. This gives us a convenient set of quadrants, so for expository purposes I shall consider the contemporary relations between rhetoric and philosophy under four main heads.First, philosophical analysis of “rhetoric” understood in a stylistic or Ramist sense. Here the most significant work has been on metaphor, conceived as a “trope,” and related rhetorical devices. Whereas with “figures” the meaning of each individual word remains the same inside the figure as outside it, with the trope the matter is different. Quintilian defined a “trope” (or “turn”) as “the artistic alteration of a word or phrase from its proper meaning (significatione) to another,” 3 which suggests that use can determine meaning—and with this claim we are at the heart of a philosophical storm centre.It is conventional to distinguish between syntax (the study of formal relationships between expressions), semantics (in the narrower sense, as the study of the relations between linguistic items and the non-linguistic items to which they typically apply), and pragmatics (the study of the relations between linguistic expressions and the use or users of these expressions). One very powerful strand in contemporary philosophy of language sees matters concerning meaning and truth as analyzable in terms of the first two categories without any essential reference to linguistic use or users. Behind this lies a history going back at least to the Enlightenment project of a universal language or “character” in which each word would relate to a different idea and the syntax be transparent; Leibniz’s logical work was in part intended as a contribution to the syntax of the universal character, and although the semantics proved intractable, the logical positivist movement—with post-Leibnizian [End Page 107] logical syntax providing the framework within which... (shrink)

This article is a discourse analysis based on a theory of figures of speech advocated by Orecchionni that analyzes implicit not only as a mark of literality but also as trope of illocutionary type not lexical, lexical, metaphorical or semantic. It considers also the explicit information of the novel through four levels of competency: linguistic, encyclopedic, logical and pragmatic rhetorical and analyzes the romantic statement according to the maxims of quantity, quality, relation or relevance and modality. This study shows, (...) through verbal interactions of « Douane de mer » that the story is the heiress of the mnemonic representation than of historical representation. It sheds light on the dual role played by implicit as a mediator in relation to historical reality or an opaque screen over the truth of the world. (shrink)

This article provides a basic general introduction to Ramus, and evaluates his role in the history of logic and rhetoric, especially with relation to the study of argumentation. The author agrees with Ong and other historians of logic that Ramus is not to be taken seriously as a logician, and that his undoubted importance in the history of ideas is to be found elsewhere.Ramus advocates a belief in nature, experience and reason, and rejects the reliance on the authority of ancient (...) philosophers, above all Aristotle, though ‘experience’ does not mean scientific experiment and, paradoxically, includes the example of great philosophers and writers. In the end Ramus is seen as responsible for substituting for ancient classical rhetoric an entirely ornamental rhetoric of figures which was to take over education (with the exception of the Jesuit schools) almost until our own day. This curtailing and diminishing of rhetoric is seen as a degeneration. Ancient five-part rhetoric had been concerned with convincing and persuading: Aristotle distinguished the analytic, scientific reasoning of logic, from dialectic which was based on opinion and probability and had close links with rhetoric; by the time of Cicero and Quintilian, who addressed themselves to jurists and politicians, logic has given way to dialectic. In the Middle Ages and the Renaissance the two become assimilated; the evolution of this is traced here through the thirteenth-century Summulae logicales of Peter of Spain to the fifteenth-century German humanist logician Rudolph Agricola, who influenced Ramus partly through the intermediary of Johann Sturm. Ramus took over their topical theories but restricted them to logic/dialectic, and left rhetoric with little more than tropes and figures. He believed that there was only one method for teaching all the arts, and one dialectic common to them all. The distinction between analytical and dialectical has disappeared, with far-reaching consequences for the study of argumentation. Over the centuries logic has lost its connection with controversy and persuasion. With the development of the post-Cartesian, post-Baconian emphasis on the clarity of scientific discourse, and the mid-nineteenth-century interest in mathematical and formal logic, the process was complete. Argumentation, or the ‘new rhetoric’, aims to fill the gap thus created. (shrink)

Studies have suggested that metaphors (Lawyers are sharks) and similes (Lawyers are like sharks) have distinct representations: metaphors engender more figurative and abstract properties, whereas similes engender more literal properties. We investigated to what extent access to such representations occurs automatically, during on-line reading. In particular, we examined whether similes convey a more literal meaning by following the metaphors and similes with explanations that expressed either a figurative (dangerous) or a literal property (fish) of the vehicle. In a self-paced reading (...) with a moving window paradigm, we presented participants with negated simile and metaphor main clauses (Lawyers are not (like) sharks) followed by explanations that also negated either a figurative (because lawyers are not dangerous) or a literal property of the vehicle (because lawyers are not fish). We found that vehicles (sharks) in metaphors were read significantly faster than those in similes. In addition, explanations negating a figurative property were read faster after metaphors, whereas explanations negating a literal property were read faster after similes. These results support the hypothesis that metaphors and similes rely on different interpretive processes, suggesting that similes access literal representations while metaphor access figurative ones in real time. (shrink)

ABSTRACTThis paper draws on Ian Bogost’s argument that video games constitute a form of ‘procedural rhetoric’, in order to re-examine the representation of heroic madness First-Person-Shooter games. Rejecting the idea that games attempt to recreate the experience of madness to the player through linear representation, the paper instead identifies two persistent commonplace figures which appear within the genre: the monstrous double, and the reaching tentacle. While Bogost’s notion of procedural rhetoric allows analysis to move away from the more facile (...) interpretations of gameplay, the paper argues that these figures also demand an account of the commonplace itself – the rhetorical ‘topic’ – which links the technical structure of gaming procedures with the tropes and figures that enable them to make sense within their wider cultural context and tradition. While the figures of the double and the tentacle purposefully draw on existing tropes and processes associated with the cultural meanings of mental healt... (shrink)

How patients and nurses experience the acute care psychiatric environment The concept of the therapeutic milieu was developed when patients’ hospitalizations were long, medications were few, and one‐to‐one nurse–patient interactions were the norm. However, it is not clear how the notion of ‘therapeutic milieu’ is experienced in American acute psychiatric environments today. This phenomenological study explored the experience of patients and nurses in an acute care psychiatric unit in the USA, by asking them, ‘What stands out to you about this (...) psychiatric hospital environment?’ Three figural themes emerged, contextualized by time, which was a source of stress to both groups: for patients there was boredom, and for nurses, pressure and chaos. Although they shared some themes, nurses and patients experienced them differently. For instance, nurses felt caged‐in by the Plexiglas‐enclosed nursing station, and patients felt caged‐in by the locked doors of the unit. The findings from this US study do not support the existence of the therapeutic milieu as described in the literature. Furthermore, although the nurse–patient relationship was yearned for by nurses, it was nearly absent from patients’ descriptions. The caring experienced by patients was mainly derived from interactions with other patients. (shrink)

What were the historical and cultural processes by which Cyril of Alexandria was elevated to canonical status while his opponent, Nestorius, bishop of Constantinople, was made into a heretic? In contrast to previous scholarship, Susan Wessel concludes that Cyril's success in being elevated to orthodox status was not simply a political accomplishment based on political alliances he had fashioned as opportunity arose. Nor was it a dogmatic victory, based on the clarity and orthodoxy of Cyril's doctrinal claims. Instead, it was (...) his strategy in identifying himself with the orthodoxy of the former bishop of Alexandria, Athanasius, in his victory over Arianism, in borrowing Athanasius' interpretive methods, and in skilfully using the tropes and figures of the second sophistic that made Cyril a saint in the Greek and Coptic Orthodox Churches. (shrink)

The paper examines linguistic, cognitive, communicative approaches to metaphor and its functioning in the narrative text. Special attention is paid to the problem of iconicity and the Wingensteinian notion of "aspect seeing" as relevant to the metaphor srudies. It is shown that the extended understanding of metaphor as "trope" or "figure" in the post-structuralist literary theory allows to see metaphor as a textual "interpretation machine". In the process of interaction of narrative and figurative patterns, metaphor functions as a means of (...) perspectivization, i.e. representation of consciousness. In the literary text, perspective changes permanently and the subsequent configurations have an impact on the previous ones: there occurs a permanent "feedback" and correlation. (shrink)

The paper examines linguistic, cognitive, communicative approaches to metaphor and its functioning in the narrative text. Special attention is paid to the problem of iconicity and the Wingensteinian notion of "aspect seeing" as relevant to the metaphor srudies. It is shown that the extended understanding of metaphor as "trope" or "figure" in the post-structuralist literary theory allows to see metaphor as a textual "interpretation machine". In the process of interaction of narrative and figurative patterns, metaphor functions as a means of (...) perspectivization, i.e. representation of consciousness. In the literary text, perspective changes permanently and the subsequent configurations have an impact on the previous ones: there occurs a permanent "feedback" and correlation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 322-334 [Access article in PDF] From Mysticism to Skepticism: Stylistic Reform inSeventeenth-century British Philosophy and Rhetoric Ryan J. Stark The idea of stylistic plainness captured the imaginations of philosophers in the seventeenth century. Francis Bacon's early attacks on "sweet falling clauses" and Thomas Sprat's invectives against "swellings of style" are especially quotable, and have been cited often by scholars from R. F. Jones to (...) Ian Robinson as evidence that a new attitude toward style emerged in the seventeenth century in conjunction with the new science. Still, even Robinson, who acknowledges the scientific influence on prose, cannot reconcile the plain style ideology with the less-than-sparse styles of the plain style advocates themselves. "The paradox," Robinson notes, "is that Sprat's language is itself imaginative and rhetorical," adding that Sprat denounced "the imagination... in a quite strongly imaginative way" with his "anti-rhetorical rhetoric" (160). This problem leads Robinson to charge that Sprat, Joseph Glanville, Bishop John Wilkins, and the other plain style advocates contradicted themselves by using highly metaphorical styles to criticize metaphorical styles, or were hypocrites in a stronger phrasing, even "painted hypocrites," to borrow a metaphor from one of Wilkins's complaints against metaphorical language.I will address this persistent argument that members of the Royal Society contradicted themselves by using elaborate metaphors to denounce elaborate metaphors, calling into question the very premise of the plain style mandates. The fact that members of the Royal Society continued to use figurative language in their writings is irrelevant. The plain style advocates did not attempt to remove figurative language from all discourses, or even scientific discourses. 1 "Plainness," instead, denotes a lack of occult influence in language. This forgotten philosophical meaning of "plainness" shows clearly that the plain style advocates did not share an antipathy toward ornamental styles, as is often suggested; rather, they shared an antipathy toward entelechial conceptions of style. The Royal Society's [End Page 322] arguments against obscure styles are arguments against the assumptions of a magical worldview, that enchanted cosmos occupied by Faustus and Macbeth, not arguments against any specific type of sentence structure or kind of metaphor. Technical issues of grammar and syntax played a minor role in these stylistic debates. In an ontological sense, the plain style advocates from Bacon to Sprat reconceptualized the very nature of linguistic form. This reconceptualization is best described as a movement away from mystical understandings of style and toward skeptical understandings of style, and this shift from mysticism to skepticism marks the stylistic reformation in the seventeenth century. 1. Entelechies and ornaments Bacon complains famously against "tropes and figures," "sweet falling of clauses," and "watery writings" in an introductory section of The Advancement of Learning entitled "Discredits to Learning from the Follies of the Learned--Ciceronianism, Scholasticism, Alchemy, and Natural Magic" (24-26). 2 Bacon includes a section for distempers of learning that do not fit neatly into categories, called "Other Errors of Learned Men Which Hinder the Progress and Credit of Learning." The coupling of these styles with alchemy and natural magic is not incidental. Bacon and the subsequent plain style advocates of the Royal Society target Ciceronian and scholastic styles specifically because of their strange cosmic elements, not because of their grammatical structures. For the new scientists, these vital styles recall a mystical worldview full of celestial influences, magical emblems, oneiric visions, and attendant spirits. The introductory section of Bacon's Advancement of Learning codifies in the newly scientific community the negative association between mysterious styles (e.g., Ciceronian, Senecan, baroque, metaphysical) and various kinds of occult behavior. Perhaps more so than any other English text, Bacon's Advancement banishes those mystical high styles of the late Renaissance to the mists and shadows of the credulous past, as Cowley describes in his "Ode to the Royal Society," to the "Kingdom of Darkness and Night" in Pope's Dunciad, or to "the island of savage women and moonlight" in Tennyson's "Locksley Hall."In Sciri Tuum Nihil Est, Glanville defends the plain style programs... (shrink)

Th is paper looks at quantum theory and the Standard Model of elementary particles with a view to suggesting a detailed empirical implementation of trope ontology in harmony with our best physics.

The modern concept of ‘style’ – from which ‘stylistics’ is derived, a discipline that witnessed the quarrel between Linguistics and Literary studies in the 20th century – has inherited from Ancient Rhetoric its substance (figures and tropes) and was largely used as a direct translation from the Latin concept ‘elocutio’ (especially in Demetrius’ treatise De elocutione [Περὶ ἑρμηνείας]) and also as a translation for Greek concepts (usually indirectly), such as ἑρμηνεία, λέξις and φράσις. There are still some other (...) concepts that seem intimately connected to ‘style’, for instance ‘ornatum’ and ‘decorum’. Considering that classical references of ‘style’ present themselves essential to write the history of this modern concept, this paper seeks to present a catalog of ancient concepts that have found in ‘style’ (in English and French) their traditional translation, as well as attempting to build a short history of each of these translation paths. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 137-153 [Access article in PDF] Metaphor and the Making of Sense: The Contemporary Metaphor Renaissance William Franke Metaphor has gained a new lease on life through the revival of rhetoric in recent decades. For promoters of "la nouvelle rhétorique," such as Gérard Genette and Roland Barthes, rhetoric came to coincide with a total science of language that is practically coextensive with all social and (...) human knowledge, while in the Anglo-Saxon world, Wayne Booth, in the wake of Kenneth Burke, repristinated rhetoric as, not just a technical discipline, but a moral one, and, in fact, an all-embracing criticism of the humanities. 1 The fortunes of metaphor have revived and flourished in tandem with those of rhetoric as a whole. Over the more than two millennia of a progressive eclipse of rhetoric, during which it shrank from its original primacy as the master art of persuasion in law, literature, and politics and, moreover, as the general framework of culture, to the status of an ancillary art of elocution of exclusively formal import, metaphor was eventually confined to being just one particular instance within the schemes of classifications of tropes. It became an affair of style, an ornament of decorative discourse, as rhetoric came to be identified with mere elocutio and was no longer essentially also inventio--the finding of arguments, in which metaphor's role is actually paramount--and dispositio--the ordering of discourse into its syntactic parts, such as exordium, narration, discussion, peroration. As the originally tripartite art and science of rhetoric was amputated of two of its main divisions in the classical model established on the basis of Aristotle's three-book treatise, 2 metaphor became a merely formal enhancement and lost its roles as substantive and structuring for knowledge and discourse.The decline of interest in philosophical, Aristotelian rhetoric had much to do with metaphor's reduction to a merely technical or decorative device. But with the recent widening practically without limit of the terrain of rhetoric, and particularly with its restoration to its original standing as a philosophical discipline comprehending the substance of argument, metaphor [End Page 137] has once again acquired cognitive status and, moreover, has tended to become the name for figurative language in general and even, emblematically, for the rhetorical or rhetoricity as such. Where the power of rhetoric to reshape cognitive meaning and even to reinvent, or at least reconfigure, reality was once again recognized as irresistible throughout all the realms of discourse, the source and unity of this power seemed to require a name, and more often than not metaphor--on account of the transformative, inventive power associated particularly with it--has been adopted to serve this purpose.Today, under the aegis of metaphor, the power of figurative language, arguably the originating power at the source of all language and even of an articulated world as such, has newly become an object of research and general theoretical speculation. This extension of the concept of metaphor is bound up with a renewed view of figurative language in general as not only a substantive bearer of the content of discourse, but also as ontologically constitutive of the world, as operative at the origins of things and their identities. It has become possible to view all language as being metaphorical, and accordingly metaphorical operations of transfer and redefinition have been recognized as being the very essence of language and of all that comes to articulation through it. Furthermore, as witnessed by burgeoning publications and conferences, metaphor has become a topic onto which practically all the classic philosophical problems of ontology and epistemology are projected and appear in a new, specifically linguistic, light. 3This new ascendency of metaphor is certainly not uninflected or uncontested, even within the camps of the new rhetoricians. Genette, in "La rhétorique restreinte" (1972), resists the "inflation of metaphor" to become the trope of tropes and the figure of figures in a wide range of writers epitomizing modern poetics--particularly Marcel Proust, Roman Jakobson, and Michel Deguy (1969). Genette argues against reduction of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.4 (2000) 15-37 [Access article in PDF] Kant's Strange LightRomanticism, Periodicity, and the Catachresis of Genius Orrin N. C. Wang We might say that in deconstruction history is always posed as a question, at once urgent, ubiquitous, and insoluble, whereas ideological demystification conceives of its relation to history as an answer, a solution, to its critical hermeneutic. Certainly, this critical truism has special force in Romantic studies, a (...) field very much shaped by the complex relation between deconstruction and ideological critique over the last twenty-five years. But it could just as well be said that the full implications of this relation are especially clarified by the field of Romantic studies, not least because its object of study replays the tensions between these two modes of inquiry. Studying Romanticism means knowing it as a historical period but also knowing it as a figure that stands for something else: an aesthetic practice, a form of consciousness, a political aspiration, an ideology, the possibility of historicity itself. That as a figure Romanticism can be either transhistorical or tied to its historical identity makes its situation all the more complicated and compelling. Romanticism especially dramatizes the interlocking relation between period identity and trope, and the investment of literary studies in that dynamic. Romanticism is the period metaphor that both stabilizes and disrupts the very concept of period metaphors.1 The deconstruction and demystification of Romanticism is very much about the deconstruction and demystification of history, its existence as either question or calculation, trope or immanent being.But even as Romanticism asserts its special relation to history it must also confront an opposite trajectory, how its meaning is best understood through a constellation of other, larger historical identities, such as the Enlightenment and modernity itself. At present the potential disciplinary reorganization of Romanticism into the long eighteenth century is the most vivid academic expression of the question, where does the historical specificity of Romanticism reside, within itself or something larger, or both?Sorting this issue out is certainly a historical proposition, but as Romanticism's special relation to history reminds us, it is also, in Paul de Man's sense, rhetorical. Which is to say, Romanticism's relation to history is, paradoxically, not special-or, more precisely, it is a trope for something pervasive among all the period fields of literary studies, insofar as they remain particular and distinct from one another. This includes those historical entities that might subsume or entangle with Romanticism itself, that would enact historicity by absorbing a field so intent on both the enabling and worrying of historical thought. Approached tropologically, the relation of Romanticism to these larger historical periods is not simply about events and formations that constitute [End Page 15] the boundaries of historical identities. It is also about best identifying and clarifying the workings of figure that create the intelligence of such periodicity.Such labor, what de Man designated innocently enough by the term "reading," calls for its own crossing of a particular set of boundaries. A philosophical text, generated by the entanglement between Romanticism and the eighteenth-century Enlightenment, might contain sections exemplary in their recording of the interstice between trope and historical periodization. Immanuel Kant's short meditation on genius in the third Critique is, like the rest of his book, about the limits and possibilities of the judging subject; his words on genius are also specifically about the artistically creative subject. In resolving the contradictions between aesthetic judgment and creation, Kant transforms the solar light of human genius into the historical genius of the Enlightenment, which is very much the linguistic genius of Romanticism. This all occurs in a register not of consciousness or of historical truth, but of something else before either's constative realization.Kant's text is especially telling in its reflexive expression of this situation, so much so that it helps illuminate the sharp distinction between deconstruction and ideological demystification. For if deconstruction always poses history as the pressure of an insoluble, omnipresent question, it does so through figure, before truth. In contrast, ideological demystification, with... (shrink)

In this article, we present a new conception of internal relations between quantity tropes falling under determinates and determinables. We begin by providing a novel characterization of the necessary relations between these tropes as basic internal relations. The core ideas here are that the existence of the relata is sufficient for their being internally related, and that their being related does not require the existence of any specific entities distinct from the relata. We argue that quantity tropes (...) are, as determinate particular natures, internally related by certain relations of proportion and order. By being determined by the nature of tropes, the relations of proportion and order remain invariant in conventional choice of unit for any quantity and give rise to natural divisions among tropes. As a consequence, tropes fall under distinct determinables and determinates. Our conception provides an accurate account of quantitative distances between tropes but avoids commitment to determinable universals. In this important respect, it compares favorably with the standard conception taking exact similarity and quantitative distances as primitive internal relations. Moreover, we argue for the superiority of our approach in comparison with two additional recent accounts of the similarity of quantity tropes. (shrink)