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Przedstawiana w tym artykule analiza nie stanowi standardowego opisu omówień prac naukowych, zwanych recenzjami, lecz ukazuje je w nietypowym ujęciu od strony aptum – wedle klasycznych zasad retoryki. Analiza ta obejmuje zarówno poziom tekstowy (inventio, dispositio, elocutio) oraz komunikacyjny, jak też uwarunkowania kontekstowe i konsytuacyjne – w celu wykazania perswazyjnego charakteru analizowanych recenzji, ze szczególnym uwzględnieniem właściwego retoryce, podwójnego odbiorcy perswazji: prymarnego i sekundarnego.

One of the aspects that the art of rhetoric and acting share is the acquisition of a technique based on identification. In rhetoric manuals, whenever the modes in which the speak-er can start using the technique need to be addressed and clarified, examples of actors deeply moved and shaken by their own roles are pointed out: it is a recurring topos, which highlights the reciprocity between the two artes. Through mental projections of narrated events, also known as visiones, the speaker filters theevents through the eye of imagination and emotionally identifies with them: thanks to the intentional control of emotions, the speaker appears to be truly involved in the matter and gains credibility. However, the planning of emotions concerns not only the performance itself but also the inventio, the initial conception of a speech. From the analysis of the sources it is evident that improvisation and the instrumental use of the various adfectus result from a long learning process too and that in oratory nothing is left to extemporaneity. While performing, the speaker unconsciously implements a whole series of techniques that have been previously assimilated through memorization and exercise and that concern both the contents and the ways to successfully communicate them

A matter of honour. Jozef Beck’s address delivered on 5 May 1939 in the Polish parliament and the principles of rhetoricThe paper presents the analysis of Jozef Beck’s parliamentary speech on 5 May 1939, showing its characteristics as well as its unique value in different facets of the speaker’s creative act. Accordingly, the paper has been divided into seven sections. The first one provides a historical outline and an attempt to reconstruct the background of the keynote address by the minister of foreign affairs. The second one characterises Beck as a diplomat, allowing to understand the person who adopted a role of public speaker in Poland under an imminent threat of war with the German Reich. The third one introduces some details on how the chief of diplomacy prepared himself for delivering a definite statement of his policy. The fourth, fifth and sixth sections contain the actual analysis of the text presented to listeners, and also examine how the speaker complied with the principles of the rhetorical art on the consecutive stages inventio, dispositio, elocutio of creating a text as intended to be delivered. Finally, the seventh section of this study briefly summarizes how the stages of memoria and actio, i. e. memorising and giving the speech, were conducted, according to the audiovisual record of Beck’s address delivered in the Polish Sejm.

Se comentan dos largos textos unidos por rasgos comunes de tipo disparatado que generan un peculiar ludismo alucinante basado en la animización de lo inerte y la desrealización a través de las palabras. This paper analyses two poems by Quevedo that share many common aspects such as the animation of vegetables and fruits through words.

The Last Judgement triptych from the Groeningemuseum in Bruges is currently considered by members of the Bosch Research and Conservation Project as an undisputed work in the oeuvre of Hieronymus Bosch (c. 1450-1516). The triptych is dated c. 1495-1505. In the article I demonstrate the connection (and thus the interpretation), based on two categories – inventio and fantasia, between the images of trumpet-playing angels and two musical instruments: a harp and bell, fulfilling the function of penitentiary tools. Two damned linked to them undergo punishment of senses (poena sensus). The driving force behind this refined form of torture, in response to amoral living seen in the light of Christian ethics, would be the angels. They play with their instruments turned in the direction of the harp and bell. In the context of the main contents of the Bruges Last Judgement I perceive the trumpet-playing angels using long, straight aerophones with banners as heraldic trumpeters. The painter, within the context of his own iconographical game, departed from the traditional topos of an angel eschatological trumpeter and in reaching for motifs of instruments connected to King David (harp) and the Church (bell), went beyond positive connotations related to them.

Argument invention (inventio) has traditionally been regarded as one of the five main components of rhetoric, but has remained an ambiguous, vague and highly contested concept, made even more confusing by its dependence on the Aristotelian topics, supposedly the places in which the rhetorical persuader can find arguments useful to support or attack a claim. The advent of two recently developed computational tools for argument invention, the Carneades Argumentation System and IBM’s Watson Debater tool, calls for a rethinking of the notion of argument invention in line with the state of the art of formal and computational argumentation systems in artificial intelligence. The role of argumentation schemes is an important part of this investigation into argument invention.

The secular carpe diem and the religious unio mystica are historically very active in the Renaissance and the Baroque. Both form important steps in the development towards a secularized culture, abandoning the idea of eternal life with the carpe diem, and giving up the ecclesiastical hierarchy in favour of direct contact to God in the unio mystica, cf. Rudolf Otto. The topos unio mystica is restructured and secularized in the “Aleph” by the Argentinian author Jorge Luis Borges introducing the complex figure of the repeated visual verb ver combined with a synedochical selection among the entirety of the vision. The complex figure reoccurs in Hundred Years of Solitude by Gabriel García Márquez, in the Black Book by the Orhan Pamuk, and without the figure in The War at the End of the World by Mario Vargas Llosa, each of them altering the topos according to their narrative needs. As stated in Ernst Robert Curtius, the topos can be seen as historically variant, and with Marie Lund Klujeff it is proposed that the figure as such can contribute actively in the creation and restructuring of the topos, thus not only being confined to the elocutio, but also contributing to the inventio.

After having distinguished the two main contexts for the transmission of knowledge – the esoteric and exoteric – the paper offers a systematic comparison between scientific and popular science texts in terms of inventio, dispositio and elocutio. The popular science texts tend to present knowledge in anthropocentric terms, showing the relevance of the message to the recipients’ everyday lives. They turn out to be shorter than genuine scientific texts, and this is achieved, in part, by eliminating information about the methodologies used. The user-friendly vocabulary offers the audience a sense of familiarity with the presented topic, which is, however, different from in-depth specialist knowledge. Zadanie „Stworzenie anglojęzycznych wersji wydawanych publikacji” finansowane w ramach umowy nr 948/P-DUN/2016 ze środków Ministra Nauki i Szkolnictwa Wyższego przeznaczonych na działalność upowszechniającą naukę.

The paper deals with the analysis of the rhetorical morphology and of the semantic functions of various emersions of ‘aposiopesis’ (or ‘reticence’) in The Occasions (1939) by Eugenio Montale, poetic collection characterized by an important ‘silence strategy’ (“to omit the occasion-spur”). The theory and the praxis of the non-said and the non-finite efficaciously outline, between inventio and dispositio, an original and coherent definition and explanation of some recurring stylistic patterns of Montale's poetry. Moreover, the critical recognition allows to clarify the essential role of the rhetorical use of silence and “textual scars” in the lyrical creation of negative or positive epiphanies and, more generally, in the poetic construction of memory, transfiguration and meaning.

The fundamental thesis from which the present study takes flight lies in a discussion of the philosophical function of the metaphorical word, which historically has been treated as having literal meaning and functions at the hands of the rationalist tradition. This paper will analyse both the traditional criticism of rhetoric —which has been thinking of it as a mere wrapper for the truth— as well as the defence of speculative power of metaphors which a particular branch of Renaissance Humanism undertakes. The paper will finally look at the ontological primacy of the metaphorical word. In this way, and taking as starting points some of the fundamental thesis of the philosopher Ernesto Grassi, we can reach a revaluation of rhetoric as a philosophical tool, which will allow us to legitimise the use of metaphor as a mechanism capable of expressing the changing nature of reality.

Chaucer changed the history of English poetry, but it seems unlikely he was thinking about that. Rather he did what any skilled poet does: he was assisted in his stylistic choices by what antiquity would have called his own peculiar ‘genius’, the particular linguistic resources of his time and place: the Middle English of London. Had he lived at another time and place, he would have expressed himself differently, and adopted a different poetic strategy. He would have ‘invented’ different things.

A klasszikus retorika öt nagy területe közül az inventio foglalkozik az érveléssel, azon belül az enthümémával, míg a kutatók többsége a trópusokat (pl. metafora) az elocutio-ba helyezi. A 21. századi retorika kevésbé szegmentáltan kezeli az érvelő és díszítő funkciókat. Jelen tanulmány az enthüméma és a metafora együttes előfordulását vizsgálja a modern vizuális kultúra képi artefaktumaiban. Az érvelés és stílus, tartalom és forma, forma és gondolati műveletek szorosan összefonódnak a 21. századi vizuális kultúrában. A stílus nemcsak formaként, hanem a kognitív műveletek alakítójaként is funkcionálhat. Az ékesség és szemléletesség eszközei, a trópusok pragmatikai-szemantikai alapokon nyugszanak. Az a tény, hogy a képi enthümémákat gyakran képi metaforák kísérik, megerősíteni látszik ezt a feltevést. Az enthümémát és a metaforát kognitív megközelítésben vizsgálva vetjük fel annak elméleti lehetőségét, hogy a felszíni struktúrákon túl a mélyebb kognitív szinteken összefügg a vizuális enthüméma és a vizuális metafora. Among the five major areas of classical rhetoric, inventio deals with reasoning, including enthymemes, while majority of researchers put tropes (eg. metaphors) into elocutio. The 21st century rhetoric, however, treats reasoning and decorating functions in a less segmented way. The present study examines the coexistence of enthymemes and metaphors in the pictorial artifacts of modern visual culture. Arguments and style, content and form, form and thought mechanisms are closely intertwined within the visual culture of the 21st century. Style may function not only as a form, but also as a shaper of cognitive operations. Tools of eloquence and expressiveness, namely the tropes are based on a pragmatic-semantic principle. The fact that pictorial enthymemes are often accompanied by pictorial metaphors seems to confirm this assumption. By examining enthymemes and metaphors with a cognitive approach, we raise the theoretical possibility that beyond surface structures, deeper cognitive levels are associated with visual enthymemes and visual metaphors.

espanolEn este trabajo se propone un modelo analitico para un tipo de discurso comercial (Elevator Pitch) basado en los cinco canones de la retorica clasica (inventio, dispositio, elocutio, memoria y actio). Partiendo de dos discursos opuestos desde el punto de vista de su eficacia, se pretende deconstruir el texto para comprender las razones del logro persuasivo (o de su fracaso) analizando sus caracteristicas discursivas y linguisticas desde el mismo momento de la planificacion (estudio del destinatario, argumentos, etc.) hasta la puesta en escena pasando por una seleccion lexica (elocutio) perfectamente estudiada que pretende estimular marcos cognitivos de interpretacion que apoyan la propia argumentacion en favor de la persuasion del interlocutor. EnglishThis paper proposes an analytical model for entrepreneurial pitches based on the five canons of rhetoric (i.e. invention, arrangement, style, memory and delivery), through the de-construction of the text from the discursive act itself (as conceived in the invention phase) to its actual production (i.e. delivery). The questions this methodology attempts to answer are why the pitch may be persuasive and how that persuasion is achieved by analyzing its discursive and linguistic characteristics; what ethical, rational or emotional arguments are appealed to; who the potential audience is, and what other multimodal resources are used to support the persuasive force of the text. In order to answer these questions, two pitches in Spanish are deconstructed and conclusions regarding their efficacy are drawn.

[ES] A partir de fuentes clásicas y contemporáneas de retórica, publicidad y diseño, junto al análisis cualitativo de ejemplos, se explican los tipos y características de los lugares (o tópicos) más relevantes, ya sean concebidos como contenedores de argumentos o como estereotipos. Incluso, se adelanta la posibilidad futura de investigar específicamente una tópica visual. Se ha constatado la importancia de la jerarquización y variabilidad de los valores en función del contexto: según el asunto, los posibles destinatarios y grupos sociales, así como su evolución con la propia sociedad. La tradicional promesa publicitaria de beneficio conecta con los valores en su papel argumentativo y ha experimentado una evolución desde el argumento racional, privilegiado en la publicidad de mediados del siglo XX, hacia la conexión personal con la marca, a través de la experiencia emocional, sensorial o estética. Precisamente, estos últimos son efectos buscados por los recursos gráficos o retóricos, lo que hace ver la necesidad de que la argumentación sea creativa, así como la inseparable relación entre argumentación (inventio) y expresión (elocutio) verbal y visual, [EN] Drawing on both classical and contemporary sources of rhetoric, advertising and design, together with an qualitative analysis of examples, descriptions are offered of the types and characteristics of the most important commonplaces (or topoi), whether conceived of as containers of arguments or as stereotypes. The future possibility of specific research into visual topos is also proposed. The study confirms the importance of the hierarchical organization and variability of values based on their context: depending on the subject, the potential addressees and social groups, as well as their evolution with society itself. The traditional advertising promise of profit connects with values in their argumentative role and has seen an evolution from the rational argument that was privileged in advertising in the mid-twentieth century towards the idea of personal connection with the brand, through emotional, sensory or aesthetic experience. It is precisely these experiences that are the effects sought by graphic or rhetorical strategies, revealing the need for argumentation to be creative, as well as the inseparable relationship between argumentation (inventio) and verbal and visual expression (elocutio).

Si la critique montaigniste se risque, depuis quelques décennies, à une approche rhétorique, c’est une certaine conception du texte des Essais qui l’anime : les chapitres des Essais sont conçus comme discours adressés et tendus vers une argumentative. Les approches rhétoriques conditionnent aussi une méthodologie, de l’étude de l’invention à celle de l’élocution. Soulignons toutefois leur grande diversité, notamment au regard de certaines problématiques essentielles des Essais, comme la question de la sincérité. Specialists of Montaigne have traditionally used the rhetorical approach to the Essais by considering that chapters were designed as speeches addressed to the reader and organized around an argumentative purpose. Indeed, rhetorical approaches presuppose a methodology, starting from the study of concepts such as inventio and elocutio. However, in contrast to these canonical readings, I also emphasize their large diversity, in particular in relation to some key problems specific to the Essais, for example the question of sincerity.

In Martin Opitz’s Buch von der deutschen Poeterey, the sonnet is defined by verse and rhyme scheme (elocutio), not by arguments (inventio) or the arrangement of arguments (dispositio); nevertheless, Sibylla Schwarz’s Petrarchan sonnets are also distinguished by their logico-rhetorical structuring. Transcending logical structuring, their subtle style is characterized by surprising relationships between disparate topoi and perceptive differentiations between aspects of a particular topos. The article analyses Sibylla Schwarz’s contribution to the poetic form of the sonnet, taking the two sonnets, “Die Lieb ist blind” and “Ist Lieb ein Feur”, as examples.

In this contribution we offer an interpretation of the pons asinorum by using a contemporary term logic. This interpretation allows us to revitalize the concept of the pons asinorum in order to produce the—politically correct— pons scholasticorum , a terministic version of the pons asinorum that relates the inventio medii with the dictum de omni et nullo .

The texts translated in this chapter belong to a hagiographie subgenre, inventio (literally “finding” or “discovery”), which deals with the discovery of the relics of Christian saints. Modern historians have come to recognize how important such relics could be to a particular community, not only because they were regarded as sacred vessels or channels of divine grace and healing power, but also because of their potential economic and political uses. Narratives of their discovery can thus be of great historical and cultural interest. Early examples of the inventio genre survive from shortly before and after the turn of the fifth century and provide vivid evidence of the increasing commitment of the Christian hierarchy to relic cults. The inventio texts, which appear both as separate compositions and also as episodes embedded in larger literary contexts such as histories, sermons and letters, exhibit an array of shared narrative motifs, including visions or other divine promptings initiating the search for long-buried relics; episodes of obstruction, delay, and resistance; inscriptions and documents; prayers and miracles (including expulsion of demons) that facilitate the discovery, or help authenticate the relics; and the enshrinement and/or distribution of the precious remains.

EnglishThis text highlights the potentialities of rhetorical analysis to reflect on governance representations and practices in early modern period. Based on a corpus of accounts by Capuchin friars Claude d'Abbeville and Yves d’Evreux, missionaries sent to the Brazilian colony, France Equinoxiale, in the first decades of the 17th century, this study shows how literate practices were structured by "representation" as a cultural form of Catholic politics, carried out by rhetorical inventio that unified metaphysics, theology, ethics and politics. These discourses allow us to put into question how was built, in the discourse pragmatics, the ethical-theological-political point of view on the Indians and how were mobilized the rhetorical commonplaces of the mystical Franco-tupi union. Conceived from the organization of the collective body of the Brazilian colony, this mystical union brought together individual wills in the unique and legitimate will of the French Christian state. Thus, France Equinoxiale colony realized the vocation assumed by the Capuchin mission as a ‘mirror’ of the French Catholic monarchy, where the regularity of the law on indigenous custom is established, and the Franco-Tupi friendship is then embodied within the ‘common weal’ of nations. francaisCe texte met en avant les potentialites de l'analyse rhetorique pour la reflexion sur les representations et les pratiques de gouvernance a l'epoque moderne. A partir d’une etude des recits des Capucins Claude d'Abbeville et Yves d'Evreux, missionnaires envoyes a la colonie bresilienne, la France Equinoxiale, dans les premieres decennies du XVIIe siecle, il s’agit de montrer comment les pratiques lettrees etaient structurees par la «representation» comme forme culturelle de la politique catholique, realisee par l’inventio rhetorique qui unifiait la metaphysique, la theologie, l’ethique et la politique. Ces discours nous permettent de nous demander aujourd'hui comment a ete construit, dans la pragmatique du discours, le point vue ethique-theologique-politique sur les Indiens et comment ont ete mobilises les lieux communs de l’union mystique franco-tupi. Concue a partir de l'organisation du corps collectif de la colonie bresilienne, cette union mystique rassemblait les volontes individuelles dans la volonte unique et legitime de l'Etat chretien francais. Ainsi, la France Equinoxiale a realise la vocation assumee par la mission capucine, en tant que « mirroir » de la monarchie catholique francaise, ou la regularite de la loi sur la coutume indigene est instauree ; et l’amitie franco-tupi est consubstantialisee, dans le cadre du « bien commun » des nations.

This monograph examines, for the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses written and taught at the Kyiv Mohyla Academy (17th -first half of the 18th century), in particular in the areas of poetic theory, metrics, lyric poetry. The analysis focuses on three main aspects: theoretical recommendations on the role of the poet and the purpose of poetry, as well as on inventio , dispositio , elocutio , drawn mostly from Ars poetica; the use of Horace’s poetry in the teaching of metrics and the exemplification of metrical schemes (particularly Alcaic and Sapphic stanzas and the dactilic hexameter); the ways in which Horace’s poetry is taken as a model in the composition of poetry, which was a mandatory exercise of the poetics course. The author analyzed the reception of Horace taking into account, on the one hand, the centuries-long Christian reception of the poet, and, on the other, the conception of poetry prevalent at the Mohyla Academy, which saw poetry as an ancillary discipline of moral philosophy, the purpose of which was to contribute to the education of devout Christians and loyal subjects. This approach was in line with the prevalent tendency in European religious schools, whether Protestant, Catholic or Orthodox, especially after the Reformation and the subsequent Counter-Reformation, to see poetry as a rhetorical instrument of Christian morality.

Maģistra darbs “Grupas Calle 13 dziesmu tekstu retorikas analīze” ir mēģinājums pielietot antīkās retorikas teoriju mūsdienu dziesmu tekstiem. Darba mērķis ir pierādīt, ka retorikas teorija, kas radusies pirms aptuveni 2000 gadiem, vēl joprojām ir aktuāla. Darba uzdevumi ir sekojoši: iepazīstināt ar retorikas būtību, tās vēsturisko attīstību un retorikas sastāvdaļām, kuras tiek pielietotas izstrādājot diskursu; iepazīstināt ar Puertoriko vēsturi un salas valodas īpatnībām, bez kā nav iespējams pilnvērtīgi saprast grupas dziesmu tekstus; ieskicēt grupas Calle 13 biogrāfijas galvenos akcentus un veikt grupas dziesmu tekstu retorisko analīzi. Kā galveno secinājumu var minēt senās retorikas teorijas aktualitāti, piemērotību un pašpietiekamību analizējot mūsdienās radītu diskursu, kas šajā gadījumā ir grupas Calle 13 dziesmu teksti. Tā kā tika analizēti dziesmu teksti, tad retoriskā analīze tika balstīta uz retorikas sastāvdaļām, kuras vistiešākā mērā saistītas ar diskursa tekstu izstrādi (inventio, dispositio, elocutio)., This Master Paper “Rhetorical analysis of Calle 13's lyrics” intends to apply the theory of the classical Rhetoric to the modern song lyrics. The aim of this paper is to demonstrate topicality of the Rhetoric which has been elaborated 2000 years ago. The main purposes of this work is: to introduce the reader with the concept of the Rhetoric, its historical development and the parts of this science which are indispensable in time of the creation of a discourse; to present the history of Puerto Rico and characteristics of the island's language which are essential in comprehension of the songs; to introduce the main aspects of the biography of the band Calle 13 and to analyse the lyrics according to the parts of the Rhetoric. The main conclusion is that the theory of the classical Rhetoric is contemporary, suitable and self-sufficient in analyzing a modern discourse which, in this case, is in the form of the songs of Calle 13. Parts of the Rhetoric that are responsible for the elaboration of the text (inventio, dispositio, elocutio) were chosen in order to analyze songs in this thesis.

Posługiwanie się literaturą w głoszeniu Słowa Bożego może urozmaicać przekaz treści kerygmatycznych. Na przykładzie homilii arcybiskupa Alfonsa Nossola można zaobserwować, jak autor wykorzystuje literaturę, czyniąc z niej narządzie w homilijnym inventio i dispositio. W niniejszym opracowaniu zebrano i usystematyzowano odniesienia z zakresu literatury w homiliach Nossola, w których autor sięga po myśl twórców takich jak: J. Eichendorrf, A. Gryphius, H. Mühlpfort, R. Schneider, D. Bonhoeffer, T. Różewicz, H. Böll, E. Fred, H. Stehr, C.K. Norwid, A. Asnyk oraz B. Jasieński. Opracowanie prezentuje, jak w praktyce literatura staje się locus theologicus, tzn. ważnym źródłem pomocniczym w przepowiadaniu. The use of literature in the ministry of the word of God may enrich the communiaction of a kerygmatic content in homilies. While analysing the homilies of Archbishop Alfons Nossol as example, it is possible to observe how the author uses literature as a tool in a rhetoric inventio and dispositio. This study is a collection and systematization of references in the field of literature in Nossol homilies, where the author uses the inspiration of such writers as: J. Eichendorrf, A. Gryphius, H. Mühlpfort, R. Schneider, D. Bonhoeffer, T. Różewicz, H. Böll, E. Fried oraz H. Stehr, C.K. Norwid, A. Asnyk oraz B. Jasieński. Tie paper presents how literature becomes the locus theologicus, i.e. an important auxiliary source in preaching.

The paper discusses three basic musical forms used in Johann Sebastian Bach’s Orgelbuchlein ( Little Organ Book ) : the melodic chorale (the most representative and hence known as ‘the Orgelbuchlein chorale’), ornamental chorale and canon chorale (due consideration i s given to the role of Andreas Armsdorff as the likely forerunner of this type of chorale). Also discusse d a re the divergences from this pattern (particularly In dir ist Freude , BWV 615) and the special role of the pedal part in Bach's cycle is emphasised. The body of the article concentrates on the relationship of the music and lyrics of the Orgelbuchlein and places Bach’s work within a larger framework of ties between rhetorics and music , with a brief recapitulation of older studies in this area (Spitta, Schweitzer). Consequently, the affect theory and the theory of rhetorical figures in music a re given due attention; the parallels between composing a speech and a musical piece a re also drawn upon. The latter concept i s perhaps the least apparent in Orgelbuchlein but an analysis of the discussed chorales in terms of inventio, dispositio and elocutio does not seem too far-fetched. Finally, the context of Lutheran religious tradition that assigned a particularly elevated role to the musical arts is called upon. The paper closes with a cursory analysis of the chorale Jesu, meine Freude , BWV 610 within the framework of musical rhetorics.

The casket of St Simeon the God-Receiver is the most representative work in the applied arts of the Croatian Trecento and, at the same time, one which displays great iconographic complexity. Although it was the subject of two monographs and a large number of individual articles, a whole set of questions remains open and awaits plausible interpretations. Particularly great problems are connected to the interpretation of a number of scenes which were understood differently by different scholars. At the same time, it can be noted that the discussion about the casket’s complex iconographic programme lacks a study which would address it as a unique a coherent whole in which every single scene is viewed as its irreplaceable constituent part. This article aims to demonstrate that the casket’s iconographic programme, especially that of the eight panels on its main body, was selected and arranged according to a carefully developed programme the creators of which were five noblemen of Zadar to whom Queen Elizabeth, the wife of the powerful King Louis I the Great of Hungary (1342-1382), entrusted not only the silver for the making of the casket but other important details connected to the commission such as the choice of the artist and, even more importantly, the selection of the scenes through which the casket communicated with its spectators. There is no doubt that the queen had her own demands with regard to what was depicted as can be seen in the opulent dedicatory inscription which records that she was the patron of the casket but also in the donation scene where she appears together with her daughters. It can also be said with certainty that she gave instructions for the somewhat unusual panel which depicts her standing by the catafalque of her father, Ban Stephen of Bosnia (+1354) who is being sent off to the next world by St Simeon the Righteous. It should mentioned that Ban Stephen was considered a heretic – a Bogomil – which means that being a Catholic queen, his daughter attempted to rectify the past with this panel. All these scenes are at the back of the casket. The queen undoubtedly also had a say in the selection of scenes which were depicted on the front. Those relate to the life of St Simeon which, considering that we know of only one event in his life, was done in a very skilful way: the central panel shows the saint receiving the Christ Child in the scene of the Presentation in the Temple while the panels to its left and right depict the translation of the saint’s relics which have not been identified as such in the scholarly literature. The translation consists of three scenes which are always present in the cases of translation: the finding of the body (inventio corporis), the transport of the body to a new place (translatio corporis) and, finally, the placing of the body to a new site where it would remain in the future (colocatio corporis). These three scenes were interpreted by the noblemen of Zadar in an idiosyncratic way in order to affirm the medieval Zadar and its nobility on the casket itself. The scene of the inventio corporis depicts the rectors of Zadar intervening at the last moment before a group of monks from the outskirts of town get hold of the body and place it in their monastery. In the scene of the colocatio corporis, the body of St Simeon is being carried into the Church of St Mary Major in the presence of King Louis and the grateful citizens who are led by the Bishop Nicholas Matafar. This scene depicts the return of the saint’s body from Venice where, according to the author of this article, it had been taken during the local uprising against the Venetian rule (1346-1358). At the same time, the visual message of the two scenes which flank the central one was to show that the exclusive ownership of the relics belonged to the citizens of Zadar. The conflict with the monks which erupted on a local level is being resolved by the local authorities, that is, the rectors of Zadar. When the problem becomes ‘bilateral’, that is, when it involves Venice, the dispute is settled (to the benefit of the citizens of Zadar) by their sovereign, the king of Hungary and Croatia. The visual interpretation of the translation depicted on the casket relies greatly on the scenes from the cycle of the translation of the body of St Mark from the facade of St Mark’s basilica at Venice (the discovery and exhumation of the body, the transport of the body on a ship, the placing of the body in a new shrine). The author of the article, therefore, frequently compares the scenes on the Zadar casket to those from Venice.

As far as diagrammatics is concerned with mediations between images and concepts, it presupposes a genuinely modern epistemological problem which did not occur in pre-modern orders of knowledge. Topical inventio in the sense of pre-modern rhetoric may lean on concrete spatial models like diagrams, but in these specific cases the concept of topos in ars memorativa is used as a method of inventio. Cicero’s topics of persons and actions, however, are operating with lists of abstract concepts and not with spatial models. Topical inventio of actions can neither be based on diagrammatic models nor can it subsequently be displayed in diagrams without serious loss of information, because action is not an exclusively spatial concept and cannot be reduced to spatiality.

This paper presents a study of the iconographic relationship between medieval church porches and the porches of King Solomon. In so doing it develops Richard Krautheimer’s work to elucidate the inventive capacity of medieval designers when a prototype is known only through written sources not structural actuality. The paper begins by introducing instances where established architectural modes were adopted for the design of a church porch, for example the cloistral attributes of the porch at Great Massingham (Norfolk). It is then argued that, based on formal study of entrance buildings including porch-towers, gatehouses, and ultimately the remarkable double-depth north porch at St Mary Redcliffe, biblical descriptions of Solomon’s forebuildings presented designers with malleable models which afforded inventive architectural interpretation.

No mundo Reformado dos sécs. XVII e XVIII, autores de tratados sobre a composição musical, disciplina conhecida na época como musica poetica, emprestaram a sistemática e a terminologia de oratórias e de poéticas greco-latinas. A descrição mais abrangente e detalhada desta concepção musical está apresentada nos escritos de Johann Mattheson (1681-1764), músico, diplomata e homem de letras. Dentre suas obras, seu último tratado musical, Der vollkommene Capellmeister ["O Mestre-de-Capela Perfeito", 1739], contém a exposição mais detalhada disponível acerca da musica poetica. Concentrar-nos-emos, neste artigo, na primeira etapa da composição musical - inventio -, de modo a examinar mais profundamente o débito de Mattheson para com a instituição retórica latina.

Tässä tutkielmassani tarkastelen dialogimuotoista esitystä, joka jäljittelee klassista dialogia paitsi rakenteensa myös filosofisten aihealueidensa osalta. Keskeisiä käsitteitä tässä työssäni ovat dialogi ja retoriikka, sillä dialogimuotoisen esityksen perinteet ovat klassisessa retoriikassa, eli antiikin kreikkalaisissa, filosofisissa keskusteluissa. Tutkimuskohteeni dialogit ovat Guido del Giudicen italian kielisestä teoksesta Io dirò la verità. Intervista a Giordano Bruno (2012). Kerron totuuden. Giordano Brunon haastattelu (suom. Aarnio 2016). Kyseinen teos esittää kolmen todellisen, historiallisen henkilön Brunon, Isaresin ja Beccarian kuvitteellisen keskustelun, joka tapahtuu 1500-luvun lopun ristiriitaisissa, maail-mankatsomuksellisissa olosuhteissa. Tutkielmani koostuu kolmesta toisiinsa sulautuvasta osasta, jotka ovat aiheen esittely ja historialliset taustatekijät sekä retoriikka-analyysi että kääntämäni tutkimusaineisto. Tällaisen klassista dialogia imitoivan esityksen tarkastelussa tärkeää on huomioida tekstin, ulkopuoliset kontekstuaaliset suhteet, sillä niissä esitettyjen argumenttien aihepiirit ollakseen ymmärrettäviä vaativat taustatietoja myös kertomuksen tapahtumaympäristöstä, eli tässä tapauksessa tekstin ulkopuolisesta todellisuudesta. Tämän vuoksi esitän tutkielmassani myös lyhyen katsauksen sekä retoriikan keskeisiin historiallisiin tapahtumiin että dialogeissa esiintyvien todellisten, historiallisten henkilöiden taustoihin. Dialogien analyyttisessa tarkastelussa hyödynnän klassisen retoriikan käsitteitä inventio, dispositio ja elocutio, joiden avulla haluan selvittää, mitä ne paljastavat dialogien argumenteista ja niihin rakentuneista merkityksistä. Kuten keskustelujen aiheista, teemoista, jäsennyksestä ja kielikuvista suhteessa tarinaan. Tutkielmani viimeisessä osassa esitän kirjoittamisen lajilliseen osuuteen kuuluvan käännöstekstin edellä mainitun teoksen toisen osan kolmesta dialogisesta luvusta. Tutkielmani tarkoitus on osoittaa, että klassisen retoriikan käsitteitä on mahdollista soveltaa kyseenä olevaan kirjalliseen aineistoon, jossa jäljitellään klassista dialogia. Retoriikan tässä kirjoituksessani käsitän laajasti, toisin sanoen paitsi puheeksi ja kirjoittamiseksi myös erääksi osaksi kirjallisuutta. Tämä näkökulma mahdollistaa myös tutkielmani aineistoanalyysin, jossa tutkimuskohteenani ovat siis dialogit ja tutkimusmenetelmänä retoriikka.

This article proposes a rhetorical analysis of “A Terribly Sensitive Mind”, an essay by Virginia Woolf that reviews Katherine Mansfield’s diary and praises her figure after her death. The argumentative nature of Woolf’s essay can be assessed following a rhetorical model of analysis in which I examine (1) the inventive level (inventio), related to the generation of arguments; (2) the dispositive level (dispositio), concerned with a specific arrangement of ideas devised to gain the audience’s adherence; and (3) the elocutive level (elocutio), traditionally associated with the recognition of stylistic features such as rhetorical figures. The interaction among inventive, dispositive, and elocutive elements allows the identification of first-order effects in the form of arguments and rhetorical figures that can come together and result in an interpretation of presence. This form of presence can help to explain why “A Terribly Sensitive Mind” is expressive.