No detailed description available for "Renaissance-Rhetorik / Renaissance Rhetoric".

Since Jacob Burckhardt's Kultur der Renaissance in Italien (1869) rhetoric as a significant cultural factor of the renaissance has largely been neglected. The present study seeks to remedy this deficit regarding the arts by concentrating on literary theory and its aspects of imagination (inventio), genre (dispositio of the genera), style (elocutio), mnemonic architecture (memoria) and representation (actio), with illustrative examples taken from Shakespeare's works, but also on the intermedial rhetoric of painting and music. Particular attention is given to the rhetorical ideology of the Renaissance.

Since Jacob Burckhardt''s Kultur der Renaissance in Italien (1869) rhetoric as a significant cultural factor of the renaissance has largely been neglected. The present study seeks to remedy this deficit regarding the arts by concentrating on literary theory and its aspects of imagination (inventio), genre (dispositio of the genera), style (elocutio), mnemonic architecture (memoria) and representation (actio), with illustrative examples taken from Shakespeare''s works, but also on the intermedial rhetoric of painting and music. Particular attention is given to the rhetorical ideology of the Renaissance.

No detailed description available for "e;Renaissance-Rhetorik / Renaissance Rhetoric"e;.

Dedicated to the subject of literary rhetoric, this book is divided in three principal parts: I. An historical outline of the relationship of rhetoric and literature. II. An overview of the realm of rhetoric and its parts and functions, above all in the section of "elocutio" with its classes of figures, where a critical comparison of traditional and modern models of the rhetorical figures is followed by the design of a new one. III. The implementation of this new concept in seven classes of figures and their respective subdivisions: 1. phonological, 2. morphological, 3. syntactic, 4. semantic, 5. graphemic, 6. textological, and 7. intertextual figures. Each chapter is supplemented by analyses of literary texts conceived as a demonstration of the applicability of the theoretical concepts and structures presented before. An extensive bibliography of research literature and detailed indices of names and subjects conclude this treatise.

The present study provides an extensive treatment of the topic of enargeia on the basis of the classical and humanist sources of its theoretical foundation. These serve as the basis for detailed analyses of verbal and pictorial works of the Classical Antiquity and the Early Modern Age. Their theoretical basis is the tradition of classical rhetoric with its principal representatives (Aristotle, Cicero, Quintilian) and their reception history. The ‘enargetic’ approach to the arts may be described as rhetoric of presence and display, or aesthetics of evidence and imagination. Visual imagination plays a major role in the concepts of effect in oratory, poetry, and drama of the Classical Antiquity and the Early Modern Age. Its implementations are manifested in the Second Sophistic and in the Early Modern Age, there above all in the works of William Shakespeare.

No detailed description available for "Renaissance-Rhetorik / Renaissance Rhetoric".

Since Jacob Burckhardt's Kultur der Renaissance in Italien (1869) rhetoric as a significant cultural factor of the renaissance has largely been neglected. The present study seeks to remedy this deficit regarding the arts by concentrating on literary theory and its aspects of imagination (inventio), genre (dispositio of the genera), style (elocutio), mnemonic architecture (memoria) and representation (actio), with illustrative examples taken from Shakespeare's works, but also on the intermedial rhetoric of painting and music. Particular attention is given to the rhetorical ideology of the Renaissance.

Since Jacob Burckhardt''s Kultur der Renaissance in Italien (1869) rhetoric as a significant cultural factor of the renaissance has largely been neglected. The present study seeks to remedy this deficit regarding the arts by concentrating on literary theory and its aspects of imagination (inventio), genre (dispositio of the genera), style (elocutio), mnemonic architecture (memoria) and representation (actio), with illustrative examples taken from Shakespeare''s works, but also on the intermedial rhetoric of painting and music. Particular attention is given to the rhetorical ideology of the Renaissance.

No detailed description available for "e;Renaissance-Rhetorik / Renaissance Rhetoric"e;.

Dedicated to the subject of literary rhetoric, this book is divided in three principal parts: I. An historical outline of the relationship of rhetoric and literature. II. An overview of the realm of rhetoric and its parts and functions, above all in the section of "elocutio" with its classes of figures, where a critical comparison of traditional and modern models of the rhetorical figures is followed by the design of a new one. III. The implementation of this new concept in seven classes of figures and their respective subdivisions: 1. phonological, 2. morphological, 3. syntactic, 4. semantic, 5. graphemic, 6. textological, and 7. intertextual figures. Each chapter is supplemented by analyses of literary texts conceived as a demonstration of the applicability of the theoretical concepts and structures presented before. An extensive bibliography of research literature and detailed indices of names and subjects conclude this treatise.

The present study provides an extensive treatment of the topic of enargeia on the basis of the classical and humanist sources of its theoretical foundation. These serve as the basis for detailed analyses of verbal and pictorial works of the Classical Antiquity and the Early Modern Age. Their theoretical basis is the tradition of classical rhetoric with its principal representatives (Aristotle, Cicero, Quintilian) and their reception history. The ‘enargetic’ approach to the arts may be described as rhetoric of presence and display, or aesthetics of evidence and imagination. Visual imagination plays a major role in the concepts of effect in oratory, poetry, and drama of the Classical Antiquity and the Early Modern Age. Its implementations are manifested in the Second Sophistic and in the Early Modern Age, there above all in the works of William Shakespeare.