Metaphor in Political Discourse Press Articles By Louis Bassets As A Model (La metáfora en el discurso político. Los artículos de Lluís Bassets como ejemplo )

The present paper focuses on studying a rhetorical form often used in Spanish linguistic discourse .It also examines the study two sides (theoretical and practical), the concept of metaphor, the most important modern school that deals with this issue, the development of this technique and its relationship with other intellectual ideologies, and the role metaphor plays in interpreting the meaning of the linguistic discourse especially in conveying political message. The study allows the formulation and the creation of a conceptual picture for the purposes of metaphor in the linguistic discourse used in Spanish press. It investigates discursive models from the Spanish press, like the speeches of Mr. (Louis Bassets) the Spanish writer in the Spanish newspaper (El Pais), (the electronic version). The study includes an analysis of metaphorical formulas in all fields of life such as (sports, the animal world, the machine, the force or military field ... etc. or any other fields from which the linguistic metaphors are taken). The conclusion sums up the findings drawn from the study, and then the references section contains scientific and journalistic sources. Nuestra investigación se centra en el estudio de una forma retórica del uso frecuente en los discursos lingüísticos que encontramos en textos escritos en español. Nuestro trabajo de investigación aborda también las dos partes (teórica y práctica), así como explicar el concepto de la metáfora. La escuela moderna más importante que se ha ocupado de este tema es el desarrollo de esta ciencia y sus relaciones con otras ideologías intelectuales, destacando el papel de la metáfora en la interpretación del significado de un discurso lingüístico de emisor de un mensaje político. Este estudio permite hacer un cuadro conceptual a efectos de metáfora en el discurso lingüístico utilizado en la prensa en España. Durante nuestra investigación estudiaremos modelos retóricos de la prensa española, concretamente los discursos del escritor en el diario español El País, (Lluís Bassets), el escritor en la página de opinión (versión electrónica) y publicados en el servicio de Interne que incluirá un análisis de fórmulas metafóricas en todos los campos o dimensiones de la vida como el mundo del deporte, el mundo animal, la máquina, la fuerza, o del campo militar, etc. La investigación concluye con una conclusión que incluye los resultados extraídos de la investigación, y la confirmación de las fuentes prácticas y periodísticas del estudio.

RHETORICAL FORM, EMOTIONS, AND MOBILIZATION POTENTIAL IN THE MOVEMENT AGAINST SEXUAL ASSAULT AND DOMESTIC VIOLENCE

Although social movement scholars are interested in social movement messaging, we know very little about how rhetorical form impacts viewer response. In this article, we use experimental methods to explore how rhetorical forms and the emotions they inspire help generate mobilization potential in the movement to end sexual assault and domestic violence. We explore these issues using a powerful randomized pre-test/post-test experimental design examining the effect of personal statements and data on sexual assault and domestic violence. Results suggest that both invoke a range of emotions and are effective at generating an increased interest in participating in protest and educational events. Those who react with disgust are more likely to have an increased potential for protest, while those who experience sadness show an increased interest in participating in an educational event. This study contributes to a growing literature on the roles of rhetorical form and emotion in generating mobilization potential.

The American Jeremiad: A Specifically American Genre

This paper offers an overview of a "specifically American genre" – the American jeremiad, whose origins lie in the Puritan political sermon and which, with certain historical and cultural modifications, exists to this day. This overview, like most studies of this rhetorical form, is based on the work of Sacvan Bercovitch, who established it as a genre and offered the most exhaustive interpretation of its structure and meaning to date. The American jeremiad aims to homogenize the American community, and to steer it towards a common national goal, as reflected in its three-part structure: an evocation of the ideal/the ideal state of the community, a denunciation of its current state, and an affirmation of the goal and a vision of progress. As, according to Bercovitch, the American jeremiad despite historical and social changes retains the cultural hegemony of the symbol of America, later studies have tested this thesis by looking at political speeches, public addresses, American films, etc., through the concepts of the contemporary secular jeremiad, historical, Afro-American, film jeremiads, etc., and almost without exception conclude that this symbol, in one form or another, is alive and well.

Nietzsche’s Genealogie der Moral Pro and Contra Distributed Cognition

Nietzsche’s writing and thought about the mind challenge some of the same Cartesian dichotomies that the more recent frameworks of 4E and distributed cognition do. Zur Genealogie der Moral (On the Genealogy of Morals), a highpoint in Nietzsche’s project of the ‘Umwertung aller Werte’ (revaluation of all values), is a proclamation of perspectivism: there is no objective perception and nothing objectively to be perceived, only perspectives on objects. This thesis is expressed through evocations of space and movement that, the chapter argues, promote and depend on readerly cognition in which embodied and enactive imagining is central. In these same passages, however, the equivocations underlying the whole perspectivist enterprise are exposed: the supposed discovery of a new extra-textual moral reality through philosophical agility is undermined by rhetorical structures that turn out to merely simulate movement, and so ask readers’ imaginations not to be too enactive. This equivocation has important consequences for readers’ engagement with the interplay of rhetorical form and conceptual content. Cognitive analysis thus gets us to the heart of a grand paradox of Nietzschean philosophy – absolute assertion of the relativity of language – while also shedding light on current questions about action-based distributed cognition as an intellectual force.

Reason, Ridicule, and Indifference

This essay provides suggestions for integrating the interdisciplinary field of peace studies and literary analysis by attending to rhetorical strategies in Leonard and Virginia Woolf’s nonfiction. The field of peace studies often relies on the social sciences and data-driven analytics, borrowing from the humanities only for vague ideas like “inspiration” and “creativity.” Andrews argues that the Woolfs’ rhetorical form offers additional resources to peace-activist writers. With a nod to the “political formalist” turn of scholars such as Caroline Levine and Joseph North, Andrews examines the ways that the formal features of the Woolfs’ writing enact their antiwar politics. Leonard Woolf insisted that his strategies for antiwar internationalism were based in reason rather than utopianism, and his prose style displays that “reasonableness” by using the tropes of western, academic argumentation. By contrast, Virginia Woolf’s circular, elliptical, and repetitive style in Three Guineas resists the combative, western academic models in which opposing views are demolished through rhetorical assaults and stockpiles of evidence. The Woolfs were united in their use of ridicule, a device that sometimes seems antithetical to nonviolent speech. Ridicule, however, holds the potential to be the art of “making ridiculous,” of pointing out the absurdity and foolishness of over-inflated, self-serious political views or actors. In this capacity it is a rhetorical form that deflates and redirects political extremity without rising to the level of its violence. As Andrews shows, the Woolfs’ writing suggests a range of options for peace-activist writing today and their rhetorical sophistication extends our capacities for a pacifist imagination.

The Degenerate in Falling Slowly (1998)

Silence and rereading are key discursive practices of Miriam and Beatrice Sharpe, the sister protagonists of Falling Slowly. Their forms of absence and excess cause critics to herald the decline of Brookner’s powers in her early reception.The sisters also share a number of behaviours with the aesthetes and Decadents labelled degenerate in Max Nordau’s Degeneration including Joris-Karl Huysmans, Baudelaire and Stéphane Mallarmé. Such behaviours include dullness, decline, ennui, inactivity, boredom, invisibility, anxiety, restlessness and absence. This chapter spins the hierarchical figure of the degenerate across the sister relationship of the domestic fiction to produce a queering of the domestic fiction. Rejecting the normative impulse of the figure, it instead engages its deconstructive capacity to render transparent the mechanisms of epistemological production and expose the way in which subjects and objects attain status as real or unreal, healthy or sick, visible or invisible, literal or figurative, heterosexual or lesbian. Inspired by Lee Edelman’s No Future: Queer Theory and the Death Drive, it mobilises a ‘no future’ narrative as the narrative form of the degenerate. The rhetorical form of syllepsis, which governs shifts between the literal and figurative, is reappropriated from the male canon to underscore the open-ended nature of signification.

Revolutionary Suicide

Chapter 6 examines how the absence of hope and the collapse into black pessimism were driven by the exposure of white liberalism’s collaborations with anti-black political rhetoric through the language of “law and order,” through the expansion of the FBI’s harassment and surveillance of Black Power activists, and through the expansion of mass incarceration. Using Huey Newton’s writings, this chapter charts how revolutionary suicide operates both as a Black Power meme as a well as a repository of feelings about black Being in a colonial state where blacks have been denied both thinking and feeling as avenues of expression. With specific focus on the rhetorical form of the eulogy, this chapter describes how Newton’s revolutionary suicide is an attempt to reconcile assassination and repression with possibilities for black agency through what Corrigan calls “necromimesis,” but it demonstrates how little room there was for black activists to politically maneuver by 1971 as the nation consolidated racial feelings around law and order politics and new conservatism.

O TERCEIRO DISCURSO DO FEDRO – UM DIVERTIMENTO SOBRE AS PAIXÕES?

Neste texto procuraremos analisar o trecho que se estende de 244 a até 257b, que contém o terceiro discurso do Fedro. O primeiro é atribuído a Lísias (231 a – 234 c); o segundo, pronunciado por Sócrates, é depois por ele rejeitado – ele o teria pronunciado sob a influência de Eros, e o atribui a Fedro (237 a – 241 c). A intenção, aqui, é nos concentrarmos no terceiro discurso, a fim de precisar o seu caráter sério, no sentido filosófico do termo ou, então, um caráter de brincadeira ou jogo empreendido por Sócrates/Platão. Em princípio, partiremos da hipótese de que sim, trata-se de um discurso com intenção séria, ainda que vazado em forma retórica, e adequado ao momento de distensão que Sócrates vive com seu interlocutor, Fedro. Analisaremos, então, o conteúdo do discurso, que versa sobre a alma, efetuando uma definição desta e efetuando uma classificação dos tipos de alma. O trecho pode ser aproximado de passagens do Fédon e da famosa Carta VII. O método empreendido é a análise textual, com auxílio eventual de comentadores.PALAVRAS-CHAVE: Platão. Paixões. Retórica. Alma. ABSTRACTIn this paper we will analyse the passage which goes from 244 a to 257 b, which contains the third speech of Plato’s Phaedro. The first speech is attributed to Lisias (231 a – 234 c); the second speech, pronounced by Socrates, is lately rejected – the speech would be proffered under the influence of Eros, and Socrates attributed its authorship to Phaedro (237 a – 241 c). Our goal, here, is to concentrate in the third speech, with the finality of assert its seriousness, in the philosophical meaning of the word, or else, to show its character of divertissement or play by Socrates/Plato. In principle, we will assume the hypothesis that it is a speech with a serious intent, notwithstanding its rhetorical form, fitted to the moment of distension which Socrates has with his partner, Phaedro. We will analyse, then, the content of the speech, which is about the soul, by means of a definition of this last and a classification of the kinds of souls. The passage can be compared to passages of the Phaedon and of the famous Letter VII. The method here adopted is the textual analysis, with the help of some interpreters.KEYWORDS: Plato. Passions. Rhetoric. Soul.

Prayer and Paradox in Baudelaire

It is well attested that Baudelaire took religious discourse very seriously and that it informs much of his poetic practice. The rhetorical form of prayer and the figure of paradox are two specific instances in which Baudelaire's appropriation, rewriting, and transformation of religious discourse can be assayed. In this article, I examine first the incidence of prayer as a form and theme in Baudelaire's writings. In a second portion of the essay, I examine the specific figure of paradox which is a common feature particularly of the prose poems. While paradox and the figure of oxymoron are very prevalent throughout Baudelaire's œuvre, I consider the specific case of paradox in theological writing. The third portion – and focus – of my essay relates these two lines of inquiry in an analysis of the prose poem ‘Le Joueur généreux’ in which the prayer form itself becomes paradox.