scholarly journals Rhetoric of the image of architecture

2019 ◽  
Vol 22 (31) ◽  
pp. 29-37
Author(s):  
Hanna Grzeszczuk-Brendel
Keyword(s):  
Documentary Film ◽  
Rhetorical Analysis ◽  
Rhetorical Figures ◽  
Film Image ◽  
The Creation

Based on the example of one of the newsreels of the Polish Film Chronicle of 1965, we have researched the issue of the usability of rhetorical figures for the analysis of the image of architecture recorded in film and its relations with the verbal rhetoric of narration as well as the pictorial rhetoric, which makes up the message of a different nature. By this we have attempted to decode the lifestyle model presented in the film and propagated by its manner of description of architecture with the use of rhetorical figures and also to decode the role and meaning of the architectural forms, which were engaged in the creation of the message of the film image. Combining the rhetorical analysis with an interpretation of the architectural forms has enabled us to identify the persuasive nature of the message of the chronicle material included in the documentary film.

scholarly journals The reflection of Ivan Kotlarevsky’s stylistics in Language of Artistic prose of Pavlo Zagrebelny

2019 ◽  
pp. 66-76
Author(s):  
Natalia Holikova
Keyword(s):  
Semantic Similarity ◽  
Language Game ◽  
Literary Language ◽  
Literary Traditions ◽  
Rhetorical Figures ◽  
Creative Personality ◽  
The World ◽  
The Creation ◽  
The Individual

The article explores the intertextual interaction of stylists, who in the works of I. Kotlyarevsky and P. Zahrebelny represent the concept of «laugh culture». The linguistic and aesthetic signs in the epic burlesque-travesty poem «Aeneid» by I. Kotlyarevsky, which served as a model for the creation of expressive and pictorial means – carriers of humorous axiology in the language of a number of P. Zahrebelny's novels, are revealed. Attention is drawn to the fact that the foundations for the formation of a ridiculous culture as a genre segment of Ukrainian literature are laid in the poem «Aeneid» by I. Kotlyarevsky, which is written in a syllabic-tonic verse (iamb) – the size most appropriate for the Ukrainian language. The linguistic and literary traditions of ridicule are at the heart of the humorously narrative tonality of P. Zahrebelny's two novels – «The Lion's Heart» and «Exile from Paradise», which form the thematic-storyline. It is emphasized that the figure of I. Kotlyarevsky is a significant creative personality for P. Zagrebelny, who often appeals to the creator of the creator of Ukrainian literary language in his prose. The novelist dialogues with the artistic texts of the laughingstock, introducing meaningfully expressive fragments of them into the intersemiotic field of prose works. The intertextual interplay of linguistic components of the individual-linguistic paintings of the world of two writers can be traced in the functional and structural-semantic similarity of a number of style word, which are often the result of stylistic reception of the language game: intertext (linguocultural and ethno-language characters), literary and artistic anthroponyms, as well as words-symbols, which are functionally significant components of the peripheral-evaluative sphere. The individual and authorial rhetorical figures of P. Zahrebelny are comprehensively analyzed within the limits of linguistics, ethno-linguistics, theory of intertextuality, literary onomastics. It has been concluded that the linguistic creation of the prose contains an important humorous-axiological segment of artistic narrative, which is organically incorporated into the context of Ukrainian laugh culture.

scholarly journals Speculation over the Love for Rock Music. Media Constructions of Groupies Between the 1960s and 1970s

2021 ◽  
Vol 13 (2) ◽  
pp. 47-56
Author(s):  
Karolina Karbownik
Keyword(s):  
Popular Culture ◽  
Rock Music ◽  
Scientific Literature ◽  
Rhetorical Analysis ◽  
Popular Media ◽  
Media Constructions ◽  
The Creation ◽  
1960S And 1970S ◽  
The 1960S ◽  
Media Narratives

The music media have constructed the identity of groupies as sexual and passive objects, submissive, inauthentic consumers of music. The stereotype, although still present in popular culture, is criticized by both the interested parties and rock artists. This article is an attempt to discuss the role that groupies played in the creation of the myth and character of the rock god, while taking into account the preconceived assumptions held by the popular media. Narratives of groupies’ participation in the emerging rock and metal scene have also been included as the ones which created a male rock musician identity: wild, aggressive and powerful. The basis for the discussion of groupies and their role in building identity in the context of rock music is the result of a deep, rhetorical analysis of groupies’ biographies, press materials, films, scientific literature and own research.

Dialogical Strategies, Volgarizzamento, and Ciceronian Ethos in Antonio Brucioli's Dialogi Della Morale Filosofia

2009 ◽  
Vol 30 (2) ◽  
pp. 39-66
Author(s):  
Reinier Leushuis
Keyword(s):  
Intellectual History ◽  
Moral Philosophy ◽  
Natural Philosophy ◽  
Rhetorical Analysis ◽  
Rhetorical Strategies ◽  
Male And Female ◽  
Cultural Elite ◽  
Female Voices ◽  
The Creation

In 1526, Antonio Brucioli (1487-1566) published a series of thirty dialogues that form a typical humanist compendium of moral and political wisdom in the vernacular. Scholars have considered these dialogues mainly from the perspective of Brucioli’s humanist and political allegiances, in particular with exiled Florentine humanists whose discussions in the Orti Oricellari the dialogues echo. However, textual reworkings in subsequent editions (1538 and 1544, in which this group constitutes the first volume, entitled Della morale filosofia, of a series that includes other volumes of dialogues on natural philosophy) warrant a reconsideration that complements intellectual history with literary and rhetorical analysis. This article revalorizes Brucioli’s Dialogi della morale filosofia by arguing that their literary and rhetorical strategies, such as the use of ancient dialogue models, the shifting choice and staging of interlocutors, the creation of Ciceronian ethos and decorum, and the mimetic aspects of the interaction of male and female voices not only evince a conscious application of early Cinquecento dialogue poetics, but also establish the author’s volgarizzamento of a compendium of classical and humanist wisdom as a uniquely Italian project aimed at an emulation and appropriation of moral philosophy by dialogical speaking at the level of a national cultural elite.

scholarly journals In Anticipation of Esthetic Revolution: Western Fiction and Documentary Film of 1940-1945

2010 ◽  
Vol 2 (2) ◽  
pp. 37-53
Author(s):  
Vladimir Aleksandrovich Utilov ◽  
VladimirAlexandrovich Utilov
Keyword(s):  
World War Ii ◽  
Documentary Film ◽  
World War ◽  
The Creation ◽  
Propaganda Films

The article reveals the processes in Western cinema during World War II and tells about the creation of educational and propaganda films which were made by famous directors for quite pragmatic purposes but in the end led to the appearance of new forms and new esthetics.

Asini grandi e piccoli

2019 ◽  
Vol 5 (1) ◽  
Author(s):  
Anatolij Vasil’ev ◽  
Dmitrij Volček
Keyword(s):  
Documentary Film ◽  
Political Power ◽  
Aesthetics And Politics ◽  
Feature Film ◽  
The Creation ◽  
Russian Theater

Taking the presentation of Asino, the first feature film of the eminent theater director Anatolij Vasil'ev, the interviewer questions the Maestro on some aspects of the film (which is entirely shot in Italy), on the situation of the current Russian theater and on theatrical work of Vasiliev in Europe. In the answers to these questions the Master offers a brief but suggestive overview of his aesthetic positions: on the concept of character transformation, on the creation of a "post-documentary" film, on the relationships between aesthetics and politics, between art and spirituality, between theater and political power in Russia, between artistic needs and productive dynamics in Europe and, at the same time, allows us to observe some Italian phenomena with his foreign eyes.

Women Can't Win

2017 ◽  
pp. 244-262
Author(s):  
Michael S. Bruner ◽  
Karissa Valine ◽  
Berenice Ceja
Keyword(s):  
Female Body ◽  
Public Discourse ◽  
Documentary Film ◽  
Rhetorical Analysis ◽  
Central Focus ◽  
Tv News ◽  
Catch 22 ◽  
The Times ◽  
The Biggest Loser ◽  
Tv Show

This chapter employs irony as a tool to make clearer the workings of one form of the e-politics of food, namely, the structural food oppression linked to the weight and shape of the female body. The authors argue that the e-politics of the weight and shape of the female body is one of the most important incarnations of the e-politics of food and one of the most vigorously contested. This chapter examines many forms of public discourse and e-politics, from Bing to Tumblr, from Huffington Post to the Mirror (UK), from TV news in Lacrosse, Wisconsin to The Times of India, from the documentary film Killing Us Softly to the book You Are What You Eat, and from WebMD to Twitter, in the end, with a central focus on Rachel Frederickson on the TV show, The Biggest Loser. The critical rhetorical analysis finds some support for the Women Can't Win thesis. Women are in a Catch-22 situation, trapped between fat-shaming and skinny-shaming.

scholarly journals The rhetoric of computer simulations in astrophysics: a case study

2010 ◽  
Vol 09 (03) ◽  
pp. A02 ◽  
Author(s):  
Aimee Kendall Roundtree
Keyword(s):  
Computer Simulation ◽  
Computer Simulations ◽  
Scientific Knowledge ◽  
Rhetorical Analysis ◽  
Scientific Paper ◽  
Close Reading ◽  
Rhetorical Figures ◽  
Theoretical Science ◽  
Primary Materials

This article is a case study and rhetorical analysis of a specific scientific paper on a computer simulation in astrophysics, an advanced and often highly theoretical science. Findings reveal that rhetorical decisions play as important a role in creating a convincing simulation as does sound evidence. Rhetorical analysis was used to interpret the data gathered in this case study. Rhetorical analysis calls for close reading of primary materials to identify classical rhetorical figures and devices of argumentation and explain how these devices factor in the production of scientific knowledge. This article describes how abduction, dilemma, compensatio, aetiologia, and other tactics of argumentation are necessary in creating the simulation of a supernova. Ultimately, the article argues that rhetorical mechanisms may be responsible for making some simulations better and more sound than others.

scholarly journals Uniwersum poetyki. Prolegomena

2021 ◽  
pp. 29-50
Author(s):  
Ewa Szczęsna
Keyword(s):  
Genetic Information ◽  
The Other ◽  
Comparative Characterization ◽  
Rhetorical Figures ◽  
Other Hand ◽  
Semiotic Systems ◽  
The Creation ◽  
The One ◽  
Literature And Film

The article analyzes the influence of semiotic systems typical of various artistic discourses on the poetics of the text (especially the modeling of rhetorical figures) and the creation of textual meanings. The thesis put forward is that the comparative characterization of textual forms makes it possible, on the one hand, to extract universal mechanisms of creating meanings (constitutive features of figures – ‘genetic information’ of poetics), and on the other hand, to examine their many representations that determine the multivariance of poetics. Migrations of figure variants from one discursive environment to another cause a ‘semantic explosion’ and determine the development of discursive forms and, as a result, the dynamics of culture. This issue is shown on the example of the forms of an ellipse in art – the ways of realizing the unsolvable and solvable concealment in literature and film. Literary and cinematic procedures are analyzed, which transform the grammatical and rhetorical ellipse into an artistic strategy.

scholarly journals Topos, Text, and the Parody Problem in Bach's Mass in B minor, BWV 232

2013 ◽  
pp. 108-125
Author(s):  
Lisa Szeker-Madden
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Rhetorical Analysis ◽  
Logical Analysis ◽  
The Other ◽  
Important Criterion ◽  
Rhetorical Figures ◽  
Musical Elements ◽  
Selection Of

Even though parody and borrowing have long been recognized as legitimate features of Bach's compositional practices, the criteria by which the composer selected appropriate material to parody remains problematic. Christoph Wolff and Güther Stiller, for example, suggest that musical elements, such as the quality of the original or its potential for further embellishment, represent possible criteria. On the other hand, textual elements such as analogous subjects, "affects," and metrical patterns between old and new texts also many have factored into Bach's criteria. In an effort to redress the imposition of these twentieth-century solutions to what is in effect an eighteenth-century phenomenon, this study undertakes a cultural/contextual examination of the Crucifixus movement from the Mass in B minor and its model, the opening chorus of Cantata 12. Indeed, a logical analysis of both texts reveals that an equivalence of topoi, or topics, represents an important criterion in the selection of an appropriate model from which to borrow. Moreover, a musical-rhetorical analysis confirms that Bach's borrowings from the opening chorus of Cantata 12 are actually musical-rhetorical figures. His application of the parody procedure thus represents the re-use of specific musical-rhetorical gestures which are suitable for the embellishment of a particular topos.

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