scholarly journals GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS

2020 ◽  
pp. 30-38
Keyword(s):  
Dionysius Of Halicarnassus ◽  
Stylistic Device ◽  
Roman Rhetoric ◽  
Literary Aesthetic

Тhe article discusses the problem of a stylistic device, its innate features and the literary, aesthetic, imagery functions, the example to stylistic convergence is also given. Moreover the classifications of stylistic devices are also investigated. The theories of ancient scholars as well as modern researchers are analyzed and predominant features of the criteria for classification are generalized. The article discusses such antique theories as Aristotle’s initial views on Stylistics, observations of the Hellenistic Roman rhetoric system, researches of Dionysius of Halicarnassus and the conclusions concerning the topic are also given. The article also deals with the review of the fundamental theories of modern researchers. I.R.Galperin’s, Yu.M. Skrebnyov’s, V.A.Kukharenko’s, Jochen Lüders’ classifications are investigated and the relevant conclusions are given. The research advances the idea of classifying the stylistic devices in the circle of language layers. The phenomenon of creation of the blended group of stylistic devices due to the mixture of the language layers in the process of creating a stylistic device is also observed in the article.

Petrarch's Defense of Secular Letters, the Latin Fathers, and Ancient Roman Rhetoric

1993 ◽  
Vol 11 (2) ◽  
pp. 119-134
Author(s):  
Brenda Deen Schildgen
Keyword(s):  
Classical Rhetoric ◽  
Church Fathers ◽  
Rhetorical Situations ◽  
Epistolary Form ◽  
The Church ◽  
Roman Rhetoric

Abstract: Like the Church Fathers before him, Petrarch was forced to defend secular learning against its detractors, and his defenses draw on many of the same arguments that Augustine and Jerome had used. In these defenses he blends classical rhetoric and Christian values, and his procedures also follow the traditions of classical rhetoric, relying on the epistolary form and utilizing the Ciceronian manner of debating all topics from opposite standpoints. Perhaps, however, because his indecisiveness complemented the classical rhetorical premise that many issues present many possible resolutions, Petrarch also rejects secular learning in some of his writings. His arguments are therefore conclusive only within their unique rhetorical situations.

Getting Over Athens

2018 ◽  
Author(s):  
Nicolas Wiater
Keyword(s):  
Roman Empire ◽  
The Other ◽  
The Political ◽  
New Model ◽  
Dionysius Of Halicarnassus ◽  
The One

This chapter examines the ambivalent image of Classical Athens in Dionysius of Halicarnassus’ Roman Antiquities. This image reflects a deep-seated ambiguity of Dionysius’ Classicist ideology: on the one hand, there is no question for Dionysius that Athenocentric Hellenicity failed, and that the Roman empire has superseded Athens’ role once and for all as the political and cultural centre of the oikoumene. On the other, Dionysius accepted Rome’s supremacy as legitimate partly because he believed (and wanted his readers to believe) her to be the legitimate heir of Classical Athens and Classical Athenian civic ideology. As a result, Dionysius develops a new model of Hellenicity for Roman Greeks loyal to the new political and cultural centre of Rome. This new model of Greek identity incorporates and builds on Classical Athenian ideals, institutions, and culture, but also supersedes them.

The Roman Antiquities of Dionysius of Halicarnassus, Volume II

1942 ◽  
Vol 35 (14) ◽  
pp. 163
Author(s):  
Edward F. D'Arms ◽  
Earnest Cary ◽  
Earnest Cary
Keyword(s):  
Dionysius Of Halicarnassus

WHERE THE GOSPEL TEXT BEGINS: A NON-THEOLOGICAL INTERPRETATION OF MARK 1:1

2001 ◽  
Vol 43 (2) ◽  
pp. 105-127
Author(s):  
N. Clayton Croy
Keyword(s):  
Gospel Of Mark ◽  
First Century ◽  
Peloponnesian War ◽  
Theological Interpretation ◽  
Dionysius Of Halicarnassus ◽  
The Moment

AbstractDionysius of Halicarnassus, rhetorician and historian in Rome during the waning years of the first century B.C.E., wrote an essay on Thucydides in which he noted that some critics faulted the great historian of the Peloponnesian War for the arrangement (ταξις) of his work. They complained that Thucydides "neither chose the beginning of the history that was needed, nor did he fit it with a suitable ending." These critics insisted that "by no means the least important part of good arrangement was to choose a beginning, prior to which there would be nothing, and to conclude the matter with an ending in which nothing seemed to be lacking" (On Thucydides 10). If we overlook for the moment that Thucydides's history differs significantly in literary terms from the Gospel of Mark, we might find it remarkable how the same criticism has been leveled against the author of the second gospel. The oddity of Mark's ending at 16:8 is well known, but the beginning of Mark is also inauspicious. Does he, like Thucydides, suffer from faulty ταξις? This paper will examine the beginning of Mark's gospel and propose, or in truth, recall and corroborate, a rather pedestrian explanation of its many peculiarities.

III. Language and Stage Action

1984 ◽  
Vol 16 ◽  
pp. 8-11
Keyword(s):  
Fifth Century ◽  
Second Century ◽  
Dio Chrysostom ◽  
Dionysius Of Halicarnassus

Although the career of Sophocles overlapped in its earlier years with that of Aeschylus and later on with that of Euripides, it is very hard to avoid over-simplifying the development of fifth-century tragedy into a progression from Aeschylus to Sophocles to Euripides. The same simplification is found amongst ancient critics, for whom Sophocles is ‘the middle one’ in ways which go beyond mere chronology. Thus Dio Chrysostom (first/early-second century A.D.) in his comparison of the three tragedians’ versions of the Philoctetes story says of Sophocles that ‘he seems to stand midway between the two others, since he has neither the ruggedness and simplicity of Aeschylus nor the precision and shrewdness and urbanity of Euripides, yet he produces a poetry that is august and majestic (σϵμνήν δέ τινα καί μϵγαλοπρϵπἢ ποίησιν), highly tragic and euphonious in its phrasing, so that there is the fullest pleasure coupled with sublimity and Stateliness (μϵτἁ ὕψους καί σϵμνότητος)’ Approximately a century earlier the critic Dionysius of Halicarnassus also found a ‘middle’ quality in Sophocles’ style: between the ‘austere’ (Pindar, Aeschylus, Thucydides, etc.) and the ‘smooth’ (Sappho, Euripides, Isocrates, etc.) he located the intermediate, ‘well-blended’ (ϵὔκρατος) mode of composition, including Sophocles as well as Homer, Demosthenes, Plato, and others. Of this intermediate style Dionysius says he is at a loss to decide ‘whether it is produced by excluding the extremes or by blending them’; but it is at any rate clear that it is defined principally by reference to what it is not.

The Greek Origins of the Cacus Myth

1977 ◽  
Vol 27 (2) ◽  
pp. 391-393 ◽  
Author(s):  
Dana Sutton
Keyword(s):  
Common Source ◽  
Dionysius Of Halicarnassus

The myth of Hercules and Cacus is related by several Augustan writers: Vergil, Aeneid 8.185–275, Livy 1.7.3, Ovid, Fasti 1.543–86 and 5.643–52, Propertius 4.9.1–20, and Dionysius of Halicarnassus, Roman Antiquities 1.39. These accounts fall naturally into two classes, in which Cacus is represented respectively as a clever rascal and as a superhuman ogre. The former version is found in Livy and Dionysius, and the latter occurs first in Vergil, and then in Ovid and Propertius. Numerous shared details go to show that Livy and Dionysius drew on a common source, and verbal similarities that have been demonstrated between Vergil and Livy evidently establish Vergil's dependence on this same source. It would therefore appear that the ogre-Cacus is Vergil's invention. Certainly there is no evidence for a pre-Vergilian Cacus characterized as an ogre.

Emphatic Sentences: A Comparative-Translational Study of Formal-Functional Relations in English and Romanian

Transilvania ◽  
2021 ◽  
pp. 75-84
Author(s):  
Mona Arhire
Keyword(s):  
Target Language ◽  
Original Text ◽  
John Fowles ◽  
Translational Study ◽  
Form And Function ◽  
Functional Relations ◽  
Wide Range ◽  
Research Questions ◽  
And Function ◽  
Stylistic Device

Emphasis, a well-acknowledged stylistic device, is a carrier of a considerable load of emotional content in the fictional dialogue. Its manifestation can take sundry forms and can be attached to a wide range of feelings and can take different degrees of intensity, all of which determines the creation of the atmosphere and impacts the reception by the readership. This paper reports on the investigation of the occurrence of emphasis embedded in the dialogic utterances of John Fowles’ novel Mantissa. The focus lies on the relation between the formal construction of emphatic sentences and the functional values deriving therefrom. The study entails a comparative analysis of emphatic utterances depicted from the English original text and its translation into Romanian. The three research questions refer to the comparative-contrastive realization of emphatic sentences in the two languages, to the extent to which the functional component succeeds in being transferred to the target language and to possible means of compensation when structural differences pose translational problems. The analysis is structured along a typology of sentences adapted to the nature of the text under scrutiny and to the aims of this study. The findings and conclusions ultimately indicate the importance of establishing a relation between form and function in matter of emphasis in the literary dialogue as an act of communication depending on linguistic devices for its effectiveness.

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