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Este artigo, embasado na Teoria Semiolinguística, concebida por Patrick Charaudeau, analisa como se constitui o ethos e o pathos discursivos do presidente Luiz Inácio Lula da Silva na entrevista ao Flow Podcast, veiculado em 18 de outubro de 2022, doze dias antes do segundo turno das eleições presidenciais, disputadas com o ex-presidente Jair Messias Bolsonaro. Como ancoragem teórico-metodológica, mobilizaram-se as noções de ethos e pathos aplicadas ao discurso político como estratégias de persuasão, conforme Charaudeau (2018). Os resultados da análise revelaram que o presidente Lula optou por uma estratégia discursiva marcada pela predominância de ethé que almejam despertar a confiança do auditório, como as figuras de chefe e virtude. A desqualificação de seu adversário, Jair Bolsonaro, foi uma estratégia de construção do pathos amplamente empregada pelo presidente, a fim de instaurar uma imagem de salvador perante seu interlocutor.

Several researchers argue that political discourse or, especially, political communication, is strategic interaction, because several actors participate in this communication, such as: a politician and the public, or a politician – a politician. Political discourse is one of the most emotionally consistent. The emotional universe in political discourse is sometimes even exaggerated and/or false. It is represented by means such as: affective verbs, conditional-optative verbs, inverted topic, adjectives at the superlative degree. The purpose of political discourse is to manipulate the opinion of the public so that the speaker emerges a winner, to present his own opinion in a reasoned manner. The speaker’s desire is to gain the public’s trust, to accumulate sympathizers, to spread political ideologies in masse, most often political speech arouses controversial opinions among the public, therefore it is considered a speech with a strong degree of emotionality.

In his 2013 monograph on Structure and Method in Aristotle’s Meteorologica, Malcolm Wilson has shown both that Aristotle conceived of meteorological phenomena as analogous to the bodily processes of animals, and that for the Stagirite the sublunar world should not be seen as a single body, but rather as composed of many different individuals. However, Wilson did not articulate the relationship between these two theories—that is, he did not answer the following question: how is it possible for the Earth to behave like an animal if it is not a single body? This paper argues that the answer to this question lies in the Aristotelian statement about the different paschein of the Earth and animals. In fact, in the chapter of Meteorology dedicated to climatic changes (1.14), Aristotle, after comparing such changes to the maturing and ageing of living organisms, states that ‘only, in the case of the bodies of plants and animals being affected does not occur in each part separately, but it is necessary for the being to mature and decay all at once, whereas in the case of the Earth this occurs in each part separately, due to cooling and warming’ (351a.28-31). In his commentary, Alexander of Aphrodisias reiterates that the difference between the changes of the Earth and those of living organisms concern the way in which these different subjects undergo affections (pathê). The concept of paschein/pathos is thus fundamental to understanding how Aristotle conceives of biological analogies, which play a key role in his meteorology: as the affections of maturing and corruption show, parallels with organic processes can be found in meteorological phenomena, but always at the level of the individual parts of the Earth. Although the sublunary world can be understood in organic terms, this world is not a ‘cosmic animal’, but rather a multiplicity of ‘regional animals’. To corroborate this thesis, this paper addresses several related questions, including: the mechanics ofenvironmental changes according to Aristotle; the differences between the regions of the Earth; the lexicon used in Meteorology to refer to the transformations of the Earth; the personal notes that Alexander adds to Aristotle’s discussion. Finally, the first modern translation of the relevant section of Alexander’s commentary is also provided here.

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O presente trabalho tem como objetivo primordial realizar uma análise linguístico-discursiva das estratégias de argumentação e de persuasão predominantes no debate de 06 de janeiro de 2021 para as eleições presidenciais em Portugal, evidenciando as estratégias de manipulação dos locutores e candidatos. Debruçamo-nos sobre a natureza dos objetos de manipulação, assim como sobre as configurações que essa manipulação assume no género discursivo em questão e respetivas finalidades. Examinamos o apelo às emoções, aos valores e à mudança realizado pelos dois candidatos. São objeto de estudo as imagens (ethos) que os adversários políticos constroem de si e do outro no e pelo discurso, as emoções (pathos) que suscitam as suas palavras, os principais valores axiológicos dos lexemas e expressões utilizados, e os modos de refutação de factos e pontos de vista convocados. Este estudo insere-se na perspetiva da análise do discurso, assim como no quadro do estudo da argumentação, nomeadamente da argumentação no discurso político.

Dans le présent article nous essayerons de mettre le point sur le mode de l’antithèse travaillé par l’écrivain algérien d’expression française Yasmina Khadra et les éléments portés sur l’idée personnifiée dans les trois romans de sa trilogie sur le dialogue des sourds (Les hirondelles de Kaboul, Les sirènes de Bagdad et L’attentat). Nous analyserons également le pathos comme procédé argumentatif adopté et soutenu par l’auteur, à savoir son comportement à la fois interprétatif et autoritaire. Abstract In this article we will try to take stock of the mode of antithesis worked by the French-speaking Algerian writer Yasmina Khadra and the elements of the dialogue related to the personified idea in the three novels of her trilogy on the dialogue of deaf (The Swallows of Kabul, The Sirens of Bagdad and The Attack). We will also analyze pathos as an argumentative process adopted and supported by the author, namely his behavior that is both interpretative and authoritarian.

This paper examines the functioning of analogies in comics and graphic novels as a multimodal medium, and more particularly in graphic novels dealing with the Holocaust. Two questions will be addressed in the present study: (a) what triggers the argumentative effect of these analogies and how do they participate in the construction of an argument? (b) what singularizes arguments from analogy constructed in the “sequential art”?

The paper investigates the relatively little-examined journalistic film review genre from discursive, pragmatic and rhetorical perspectives. To illustrate the presented framework for genre analysis, we have selected 32 French and francophone journalistic reviews of two different film genres: a comedy (from 2017) and a drama (from 2019). The persuasive strategies of the pathotic dimension in the film review we focus on leverage two of the Aristotelian modes of persuasion (ethos and pathos) in order to instill particular views and concepts. Our study centres around those persuasive strategies that draw on the discursive construction of the reviewer’s ethos and pathos in the film review based on the concept of emotive argumentation. [ABSTRACT FROM AUTHOR]

Travels and the longing for afar have been and still are the source of inspiration for many authors. This article analyses Bodo Kirchoff’s short story “Widerfahrnis” (“Encounter”), which belongs to the genre of travel literature and extends the literary tradition of German authors to choose the theme of travel to Italy in their work (Johann Wolfgang von Goethe, Heinrich Heine, Thomas Mann, etc.). The short story raises the existential questions of longing for love, loneliness, confrontation with refugees, and moral and social aspects of relations with them. The article aims to reveal how the structures of experience described by the German phenomenologist Bernhard Waldenfels appear in the work of Bodo Kirchhoff. What happens to us does not happen without our involvement but goes beyond it. The experience begins not with the intentional gaze of the subject, but when someone (a stranger) touches us, encounters us, causes us to react and raises tension. Bernhard Waldenfels attributes the encounter to the realm of pathos, meaning to the realm of feelings. Response or the inevitable response to an encounter comes earlier than an understanding or an answer. Although the title of the short story is in the singular form, it reveals many encounters: a meeting of an older couple, a spontaneous trip to Italy, an encounter with a refugee girl and a refugee family, the birth of love and its loss.

En el presente trabajo analizamos la relación dinámica entre razón y pathos que anima la obra de Carlos Blanco. Esta relación, que llamamos noesis, es enfocada como un acontecimiento que se reproduce en cada una de sus libros y que gobierna la lógica de sus conceptos.

The investiture speech of His Excellency Mr. (H.E.M) Alassane Bala Sakandé (P.A.N) delivered on September 8, 2017 before the National Assembly of Burkina and broadcast live on Burkina National Radio and Television is not only his very first official speech but also a political discourse with multiple challenges, given the context of its production. Behind this speech that looks like a funeral oration, there lies a whole strategy of political communication based sometimes on the efficient exploitation of different forms of self-representation in the speech, sometimes on a deliberate desire to influence its audience by surfing on its emotions. If the form of the evoked content draws the attention, it is not less about the form of expression which rests on the rhetoric of the seduction and draws itself from the source of the enthymeme and logical reasoning. This paper questions in particular the notion of political ethos linked to that of pathos to examine the stakes of this discourse as logos. [ABSTRACT FROM AUTHOR]

By outlining a brief history of a poetic sequence, non ego te, since Plautus up until Ausonius, the author demonstrates that this word order, mainly a hexameter opening, far from being casual or simply ascribable to spoken language, is deliberately employed in passages symptomatically comparable for semantics and atmosphere (touching farewells or panegyrical apostrophes), in order to charge the diction with a strong pathetic nuance.

Nous prenons comme point de départ l’extraordinaire profusion des marques d’intensité insérées dans L’histoire de Manon Lescaut et du chevalier des Grieux afin d’analyser leurs différentes fonctions communicatives en tenant compte de leur inscription dans un contexte discursif déterminé pour étudier ensuite leur rôle dans quelques stratégies narratives spécifiques. Nous nous intéressons d’abord à la relation entre l’intensité et le registre pathétique qui traverse les genres littéraires au XVIII siècle, puis aux valeurs sémantico-pragmatiques de la construction consécutive intensive et aux effets de généricité signalés par Adam (2011) pour d’autres genres de discours. Finalement, nous analysons les stratégies d’intensification mis en œuvre dans le roman afin de capter l’intérêt du lecteur et de générer des situations plutôt humoristiques.

In the light of the growing presence of political actors on Instagram, it seems essential to tackle the use of the platform by political leaders. This article explores the way in which communication advisors have framed the ethos of Justin Trudeau on Instagram during its campaign and through the first 100 days of its government. With that purpose in mind, we have adopted a largely quantitative approach, supported by a discourse analysis. The results shed the light on an ethos based on authenticity, compassion and competence. Justin Trudeau is presented thanks to strategies based on pathos and celebrity politics, through a heroic and positive storytelling.

O objetivo principal deste artigo é verificar/abordar alguns elementos linguístico-discursivos em alguns excertos do discurso de tomada de posse (doravante DTP) do ex-presidente brasileiro Luís Inácio Lula da Silva, no ano de 2003, mais conhecido como Lula. É preciso entendermos, a priori, que o Discurso Político é, em sua essência enunciativa, uma forma de argumentar (cf. ADAM 2011, p., 122) com o intuito de persuadir o interlocutor. Deve-se, ainda, perceber que há uma separação propriamente dita entre língua e discurso, como ressalta (SAUSSURE 2002, p. 95 in ADAM, 2011, p. 29). O discurso, na realidade, demonstra uma coesão entre dois conceitos “revestidos de forma linguística” (ADAM, 2011, p. 30). Entendermos como se aplica a formação discursiva, num DTP, por exemplo, consiste em descortinarmos o que está nas entrelinhas, ou simplesmente o que, de forma estratégica, o ex-presidente Lula, como enunciador político, procura elaborar, através da língua, alguma forma de persuadir o enunciatário a uma determinada ideia. Neste estudo de caso específico, abordar-se-á, portanto, algumas estratégias de persuasão ao nível da Língua e ao nível Discursivo, que nos darão a real noção de como um político constitui, em seu enunciado, alguns lexemas afetivos, a responsabilidade enunciativa (RE), a forma como a figura política constituirá o seu ethos, tendo em conta o pathos – já estudados na Retórica clássica – e, finalmente, determinados enunciados que serão revelados ao seu enunciatário como este tem o dever de governar, abstraindo do enunciador a responsabilidade Institucional do Estado. É, portanto, legítimo salientar que o enunciador político, através de uma forma implícita, revelar-nos-á que o povo também governa.

The main objective of this study is to highlight the issues of pathos in the media discourse, especially in the first press article published in France on the earthquake in Italy 2016. To achieve this goal, the approach is based on the results empirical analysis of the articles on the earthquake that took place on August 24, 2016 in Italy, as described by two French national daily newspapers: Le Monde and Le Point. We conduct our analysis on the first article published in the dailies Le Monde and Le Point, on August 24, 2016, the day of the earthquake. We aim to grasp how the concept of catastrophe is rendered by lexical means. In addition, we try to emphasize how emotions are transmitted not only by subjective means, such as qualifying adjectives, but also by objective means, such as the factual data presented. The theoretical framework is provided by work on rhetorical strategies (Aristotle 2007, Perelman, 1992) and on the study of emotions (Plantin, 1997, 1998, 2004; Tétu, 2004).

As tecnologias digitais possibilitaram ao homem a democratização do conhecimento e das informações, ao mesmo tempo em que o expuseram a uma infinidade de desinformação, ou seja, as “fake news”. No contexto acadêmico, elas são publicações que viralizam em redes sociais a partir de informações comprovadamente falsas, com um formato que simula o estilo jornalístico para enganar o público, ocultando sua autoria. Este artigo tem por objetivo analisar as emoções como estratégias discursivas para obter possíveis efeitos persuasivos nas fake news. Além disso, visa a contribuir com os estudos sobre fake news/desinformação, no que se refere à importância do pathos na construção das estratégias discursivas. Para tanto, selecionamos, como corpus, as desinformações checadas pelo portal “Saúde sem Fake News” do Ministério da Saúde, no que tange às vacinas e ao câncer. Adotaremos, como aporte teórico, a teoria semiolinguística e os modos de organização do discurso, além do conceito de pathos de Charaudeau (2015), mais precisamente “a visada do pathos, que consiste em ‘fazer-sentir’, ou seja, provoca no outro um estado emocional agradável ou desagradável” (Ibid., p.69). E ainda, de modo a conceituar fake news, fundamentamo-nos em Frias (2018), Genesini (2018), Ferrari (2018), Santaella (2018) e Wardle e Derakhshan (2017). Os resultados da análise mostram que as desinformações construídas com intuito de alcançar a emoção do interlocutor são mais passiveis de persuadi-lo, levando –o não só a acreditar no conteúdo falso como também a compartilhá-lo.

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This paper examines texts evoking religious conceptions based on the absence of pity (and, a fortiori, of appeal to pity) towards human beings lowered to the status of enemies, both in DAECH magazine, Dar al-Islam, and in Voltaire’s correspondence regarding the punishments Catholics inflicted to the Sirvens. These texts emphasize the importance of problematizing the appeal to pity (which will be done here by looking at indirect argumentation) from the point of view of its content and of its manifestations and analyses, as the link between religion(s) and compassion or pity is not self-evident. The paper examines why there is no appeal to pity in the intolerant conceptions of religion; it then identifies the positive reasons for expressing pity and looks more specifically into the duty of pity. Thirdly, the paper examines an original discursive use of the appeal of pity in a semi-private, semi-public letter written by Voltaire in relation to the Sirven affair. Eventually, it outlines a linguistic problematization drawing on Michel Meyer’s notion of problematological questioning (2017) in relation to the discursive strategies adopted by Voltaire, strategies that unravel a pathemic paradox: the text becomes all the more touching because it contains relatively few pathemes and it spurs to action as the appeal to pity arouses, in addition to compassion, a feeling of indignation towards the iniquities that overwhelm the innocent victims.

Este artículo se ocupa de la retórica y trata de retórica de la polémica. El arte de la retorica, tal como fue dibujado por Aristóteles, es el arte de la explotación de los argumentos persuasivos en el discurso. Reposa sobre tres parámetros necesarios para el arte de la persuasión, de los que hemos retenido dos en el marco de este trabajo: el pathos y el logos, porque ambos son los más manifiestos en la persuasión polémica. El primero consiste en persuadir al oponente por medio de los afectos; mientras que el segundo persuade con la razón. La particularidad de este artículo consiste en poner de manifiesto las categorías de argumentos persuasivos convocados en un contexto polémico y que constituyen la particularidad de tal discurso. Así, se exponen los patetismos que parecen propios de lo polémico e igualmente los argumentos lógicos que son típicos de este discurso.

Resumen La finalidad de este artículo es el análisis del ethos de los personajes que actúan como narradores en los parágrafos V al XIX del Libro I del Asno de oro. Cabe aclarar que el estudio del ethos de los oradores se hace partiendo de la concepción de que el mismo es el resultado de una elaboración prediscursiva, que tendrá por resultado la construcción del ethos en el discurso retórico, concepto ya expresado por Aristóteles en su Retórica y retomado por las teorías del discurso y de la argumentación a partir de la segunda mitad del s. XX. Por lo tanto, la metodología a utilizar se vale tanto de obras de Retórica Clásica como de la Nueva Retórica. Además, se sirve de enfoques de la Lingüística y la Narratología. Por ser la novela de Apuleyo un ejemplo de lo que Bajtin denomina “dialogismo y alteridad”, un segundo objetivo es el estudio de las relaciones que se establecen en el discurso de los personajes para tratar de determinar el sentido buscado en la obra y, en consecuencia, la incumbencia o verosimilitud de estos relatos en la misma. Palabras clave: retórica; ethos; pathos; novela latina; Apuleyo. Abstract The purpose of this article is the analysis of the ethos of the characters that act as narrators in paragraphs V to XIX of Book I of The Golden Ass. It should be noted that the study of the ethos of the speakers is based on the conception that it is the result of a pre-discursive elaboration, which will result in the construction of ethos in rhetorical discourse, a concept already expressed by Aristotle in his Rhetoric and taken up by the theories of discourse and argumentation from the second half of the 20th century. Therefore, the methodology to be used is worth as much of works of Classical Rhetoric as of the New Rhetoric. In addition, it uses approaches to Linguistics and Narratology. Because Apuleyo's novel is an example of what Bakhtin calls "dialogism and alterity," a second objective is the study of the relationships established in the discourse of the characters to try to establish the meaning sought in the work, and in consequence the incumbency or verisimilitude of these stories in it. Keywords: rhetoric; ethos; pathos; Latin novel; Apuleius.

For a few months, researchers have been analysing the way Covid-19 has been spreading around the world. As far as the Human Sciences are concerned, they have focused their interest on the consequences that this pandemic has on society. This contribution aims at examining how President Emmanuel Macron creates an ethos of authority which is able to both dominate the conspiracy theories on the origins of the virus, and lead the addressee to follow the measures against the virus. The analysis was conducted on the transcription of the speech given by Emmanuel Macron on 13 March 2020, in which the governmental measures were presented and the lockdown pre-announced. This contribution aims at investigating the articulation among ethos, pathos and logos, whose goal is to create a discourse of authority in this period marked by the health crisis. [ABSTRACT FROM AUTHOR]

Considerando la capacidad psicagógica del lenguaje, es decir, de seducir y convencer, este artículo pretende indagar de qué manera se manifiesta ésta en la construcción de la literatura fantástica y en particular en la obra de H.P. Lovecraft. Así pues, se realizará una aproximación al texto fundamental del ciclo de Cthulhu en el que se destaquen los recursos retóricos utilizados por su autor para convencer al lector de la existencia de lo imposible, así como de la insignificancia del ser humano en el vasto cosmos. Aunque en esta obra todos los pisteis o medios de persuasión (logos, pathos y ethos), descritos por Aristóteles, están presentes es evidente que dada la importancia del efecto, y por tanto del receptor del texto, el Pathos tiene un lugar central.

El presente artículo busca interrogar el pathos de la vida y de la existencia, a partir del estudiode las obras de Michel Henry y de Henri Maldiney. Dicho intento de ampliar la razón recobrando ladimensión afectiva de la vida (Henry) o de la existencia (Maldiney) ha orientado a la fenomenologíahacia una reflexión profunda sobre una inmanencia absoluta de la vida o sobre la apertura hacia elacontecimiento de sentido que es propia a la existencia. De este modo, nos pregunatremos quéfenomenología (Henry o Maldiney) se apropia mejor la tarea de ampliar la razón hacia la dimensióndel sentir y de la afectividad.

Interpretamos que, en “Los dos príncipes” de José Martí, el poema dibuja un pathos (sentimiento de piedad y compasión) que se nutre de diversas relaciones intertextuales (v.g. un poema de Helen Hunt Jackson, un romance de la tradición popular hispánica y tópicos literarios de Horacio (Quintus Horatius Flaccus), excelente poeta latino). Lo vegetal y animal se emplean simbólicamente: el laurel y el caballo como emblemas de la realeza; el fúnebre álamo representa el dolor y el sacrificio y las lágrimas del pobre campesino, al igual que la oveja, el perro y el pajarito. Martí coloca el sol, símbolo luminoso, en el campo abierto de los pastores, lo que contrasta con el color negro en el mundo palaciego. El ave en el espacio de los pastores representa la trascendencia del ser. La arquitectura del poema se funda en un paralelismo fonosemántico donde proliferan figuras de estilo. Se configura un lector niño más cerca del animal, y se ratifica lo inútil del poder ante la muerte, siendo la esencia del dolor la misma en cualquier contexto sociocultural.

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The paper propos a focus upon two contemporary artists through Adorno’s idea of “modern art”, in other terms of an art able to counteract the globalization of the culture industry. The artistic production of Antoni Tàpies and Bill Viola replies to condemnation that Adorno makes about all those movements which call fundamentally in question the concept of art and the notion of work. These two artists save the status of art in the post-industrial society, where the radical transformations of cultural system threaten the survival of artistic creation, as if the aesthetic rationality could only abdicate to an instrumental rationality. Tàpies, as well as Viola, belongs to that group of artists that makes us the consciousness of our mortality, where the dimension of critical reference of our world is always present.

Este artigo fundamenta-se em perspectivas teóricas que evidenciam a influência de contextos sociais e históricos para a análise dos textos (Bronckart 1999; Adam 2017; Charaudeau 2017) e em abordagens que enfatizam a importância dos aspectos retóricos para o estudo dos textos jurídicos (Pinto 2010; Damele 2011), visando analisar de que forma a argumentação e algumas estratégias a ela associadas são construídas em alguns gêneros textuais jurídicos. É a partir das escolhas linguísticas perpetradas pelos profissionais da área, bem como de aspectos formais e normativos que será construída, por um lado, a argumentação de caráter ‘mais racional’ relacionada ao logos; por outro, a de caráter mais retórico, associada ao ethos, e ao pathos. De forma a provar essa hipótese, foi selecionado umexemplar de uma sentença condenatória de um Tribunal de 1ª Instância do Rio Grande do Norte, Brasil. Resultados preliminares apontam que a argumentação nos documentos jurídicos pode ter um caráter retórico, mas este é variável em função de constrangimentos que podem influenciara construção textual e retórica.

Este artigo fundamenta-se em perspectivas teóricas que evidenciam a influência de contextos sociais e históricos para a análise dos textos (Bronckart, 1999; Adam, 2017; Charaudeau, 2017) e em abordagens que enfatizam a importância dos aspectos retóricos para o estudo dos textos jurídicos (Pinto, 2010; Damele, 2013), visando a analisar de que forma a argumentação e algumas estratégias a ela associadas são construídas em alguns gêneros textos jurídicos. É a partir das escolhas linguísticas perpetradas pelos profissionais da área; bem como de aspectos formais e normativos que será construída, por um lado, a argumentação de caráter ‘mais racional’ relacionada ao logos; por outro, a de caráter mais retórico, associada ao ethos,e ao pathos. De forma a provar essa hipótese, foi selecionado um exemplar de uma sentença condenatória de um Tribunal de 1a Instância do Rio Grande do Norte, Brasil. Resultados preliminares apontam que a argumentação nos documentos jurídicos pode ter um caráter retórico, mas este é variável em função de constrangimentos que podem influenciar a construção textual e retórica.

The English translation (Murambi: the Book of Bones by Fiona Mc Laughlin) of Murambi, le livre des ossements raises the issue of language change which allows the translation to target a new audience. This article focuses on the question of translation as a problematology of horror, memory and narrative of the Rwandan genocide. The English version implicitly maintains the same content of the source text while roughly raising the problematology of author, narrators, and audiences changes. We show that, through the narratological problem, the translator alters more or less the ethos of the narrator and discursive strategies and figurativity by the logos in order to generate the pathos.

This article explores the popularity of Erskine Nicol (1825-1904), a Scottish artist designated as the painter of Irish life. He first painted “humorous” pictures based on anti-Irish caricatures, intended to make his public smile to the detriment of his Irish sitters. He also resorted to artistic codes which had been successfully used by Dutch and Flemish artists and which had been revived by David Wilkie, so that his style was made to please the Victorians. Moreover, Nicol dramatised his pictures such as his famous Notice to Quit (1862), denouncing the helplessness of peasants who were evicted from their land and lodgings by their landlords. The painting was deemed “truthful” because Nicol was seen as a reliable witness who had lived in Ireland and was then likely to have witnessed such scenes, conveying a lot of emotion to the viewer. Thus, his Irish iconography reveals a tension between humour and pathos examined in this analysis.

The aim of this article is to examine handbooks of rhetoric produced for the purpose of the teaching and training of French preachers in the second half of the seventeenth century - as of today such handbooks have rarely been studied by the scholars. I will endeavour to assess their role in a history of rhetoric considered less as a theory or a pedagogy than as an art of producing oral speeches. After having explained the circumstances of their production, I will study their attempt to modernize the principles and techniques inherited from classical treatises on a specific topic, namely the usage of passions, when it comes to talking from the pulpit. [ABSTRACT FROM AUTHOR]

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Copyright of Rhetor. Journal of the Canadian Society for the Study of Rhetoric is the property of Canadian Society for the Study of Rhetoric and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mélanges francophones is the property of Galati University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artigo procura mostrar em que medida o pensamento de Nietzsche evolui ao se ocupar polemicamente com a filosofia grega clássica. Em sua obra de maturidade, Nietzsche caracteriza sua prática filosófica como a “transformação do dionisíaco em um pathos filosófico” (Ecce Homo, “O Nascimento da Tragédia”). O termo pathos é tomado aqui como um contraconceito estratégico voltado contra a metafísica europeia, que se apresenta como uma filosofia do logos desde sua fundação platônica. Em sua confrontação permanente com Platão, Nietzsche por um lado critica e desconstrói determinados conceitos e a orientação transcendente de seu precursor, mas por outro lado ele o repete como um “transvalorador de todos os valores” e como um artista filosófico. Assim, em suas ambições críticas, Nietzsche descobre cada vez mais o indivíduo para além da filosofia do logos: Sócrates para além do socratismo e Platão para além do platonismo. Ao demonstrar a relação tensa entre Nietzsche e Platão enquanto escritores, gostaria de argumentar que mesmo o projeto de uma filosofia antimetafísica permanece ligado ao modelo da dialética socrático-platônica.

Este trabalho é resultado de nossa pesquisa em que investigamos os recursos quando se tem o objeto "livro" como fonte de notícia em matérias publicadas pelo jornal Folha de S. Paulo, veiculadas no mês de março de 2008 no caderno de variedades - Ilustrada - e no suplemento literário - Mais!. Assim, nos deparamos com uma diversidade de textos, compostos por gêneros discursivos característicos; entretanto, certos textos nos chamaram a atenção, pois, ainda que publicados como matérias de jornal, mais parecem textos literários, devido ao espaço em que são divulgados e, certamente, por conta do público a quem são destinados. Além disso, podemos conceber que os discursos representam o mundo e, assim, suas enunciações são parte integrante desse mundo representado, daí a associação entre essa concepção e a categoria de cena da enunciação. Desse modo, nos faremos valer dos conceitos de ethos e pathos, afinal, ainda que tenhamos dois cadernos de um mesmo jornal, estes periódicos são pensados tendo como público sujeitos distintos. E, ao considerar essas noções, pretenderemos apontar a construção de imagens de leitores na constituição das imagens dos cadernos analisados, bem como justificar essa abordagem distinta da Folha de S. Paulo ao se tomar o objeto "livro" como notícia.

This article offers an analysis of the staging of violence in Calderón’s plays, with particular stress on the resort to severed heads and their various functions in different dramatic genres. Starting from general considerations about violence at the various dramatic levels (action, characters, language, stage-setting), it examines the element of pathos, especially in tragedies, and also the comic and grotesque variations in some cases. Of all the gruesome and macabre devices used (corpses, executees, murders...), it highlights the resort to severed heads, not only as verbal references in the lines, but chiefly as a scenic element manipulated in various different ways (heads made of leather and cardboard, tables with orifices, false platters, trapdoors, etc.). It concludes that Calderón used elements of gruesome cruelty, such as severed heads and other mutilations, in various different genres and contexts, in a multiplex exploration of tragic pathos and grotesque comedy, in some cases with moralising didactic intent, and in others as a means of provoking laughter and black humour.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O objetivo deste artigo é analisar o conceito de vivência (Erlebnis) na filosofia de Nietzsche, desde o seu primeiro emprego em língua alemã, seu significado e a recepção que Nietzsche faz da palavra no interior da sua filosofia. O conceito de Erlebnis, particularmente caro à filosofia de Nietzsche, mas também à fenomenologia, possui originariamente uma tríplice significação: a) a imediatez (Unmittelbarkeit) entre homem e mundo; b) a significabilidade (Bedeutsamkeit) para o caráter global da existência; e c) a incomensurabilidade (Inkommensurabilität) do conteúdo da própria vivência, conferindo a ela também uma dimensão estética. A tríplice significação de Erlebnis implica na sua estreita associação a pathos.This paper aims to analyze the concept of experience (Erlebnis) in the Nietzsche's philosophy, since its first use into the German language, its meaning and reception of Nietzsche inside his philosophy. The concept of Erlebnis, especially dear to the philosophy of Nietzsche, but also to phenomenology, originally has a triple meaning: a) the immediacy (Unmittelbarkeit) between man and world, b) meaningfulness (Bedeutsamkeit) to the global nature of existence and c) incommensurability (Inkommensurabilität) of the experience's content itself, giving it also an aesthetic dimension. The threefold meaning of Erlebnis implies its close association with pathos.

The common opinion on experiantial ground of human knowledge often leads to result that the problem of experience is not sufficiently addressed. For this reason this study attempts to grasp the basic aspects of experience, i.e. individual and general character of experience, pathic moment of experience, processuality, directness, mediacy and immediacy of experience, which lead to rethinking of nature and extent of experience in philosophical investigation.

Teremos, neste trabalho, a exposição de uma abordagem ao texto cancional como uma situação retórica específica. Evidenciaremos a melos, assimilada como todos os aspectos musicais da canção, como uma prova retórica que se articula à tradicional trilogia: ethos, logos e pathos. Dessa forma, abordaremos, discursivamente, a maneira como os elementos musicais de uma canção podem funcionar como recursos persuasivos. Utilizaremos um arcabouço teórico interdisciplinar, articulando a retórica clássica à semiótica aplicada à canção. Como corpus, teremos a análise de uma amostragem de canções buarquianas de temática sócio-política composta e gravada durante o período da ditadura.

In this study, using a theoretical framework for discourse analysis, I start off a reflection that lies at the intersection of semantics, pragmatics and rhetoric, in this discursive space where utterances present cultural patterns with high recurrence. These patterns are recognizable as the discourse appears in the public realm and at the same time they reformulate and renew an ideological position within the new text parameters. Indeed, one should consider that these discourses take place in a tension between the same and the different which ensure both a consensual and dynamic character to public speaking.