scholarly journals CAN FIGURES PERSUADE? ZEUGMA AS A FIGURE OF PERSUASION IN LATIN

2021 ◽  
pp. 1-17
Author(s):  
William Michael Short

Abstract Use of rhetorical figures has been an element of persuasive speech at least since Gorgias of Leontini, for whom such deliberate deviations from ordinary literal language were a defining feature of what he called the ‘psychagogic art’. But must we consider figures of speech limited to an ornamental and merely stylistic function, as some ancient and still many modern theorists suggest? Not according to contemporary cognitive rhetoric, which proposes that figures of speech can play a fundamentally argumentative role in speech by evoking a level of shared meaning between speaker and listener, and simultaneously by affording the possibility of reorganizing this common ground. This paper argues that, in Latin literature, zeugma—the ‘linking together’ of two elements (usually nouns or prepositional phrases) with a third (usually a verb) that is semantically compatible with only one of them—can and very often does operate argumentatively, and that it does so by surfacing figurative relationships that normally remain below the conscious awareness of Latin speakers and by imparting a certain structure to these relationships. What very often motivates the selection of elements within zeugma—and what makes zeugma more than simply a stylistic device—are in fact metaphorical structures that are highly conventionalized in Latin's semantic system. In tapping into symbolic associations that are deeply entrenched in the language and thought of Latin speakers, zeugma therefore provided a ready-made device for constructing arguments in context.

Author(s):  
Е.Б. ДЗАПАРОВА ◽  
E.B. DZAPAROVA

В статье рассматривается переводческое наследие Созырыко Бритаева, оценивается вклад переводчика в теорию и практику художественного перевода. Автором анализиру- ются переводы С. Бритаева, выявляются способы воссоздания в переводном тексте фор- мы и содержания оригинала. Анализируя рассказ Л. Н. Толстого «После бала» в оригинале и в переводе С. Бритаева, исследователь рассматривает способы отображения в пере- водном тексте основного структурообразующего элемента произведения — контраста. Установлено, что переводчику С. Бритаеву удалось воспроизвести стиль повествования, систему художественных образов оригинала, архитектонику произведения. Прослежена передача на языке перевода и образных единиц оригинала (метафор, эпитетов). Перевод- чик в основном воспроизводит данные единицы перевода в оригинальной творческой мане- ре русского писателя. Замена отдельных метафорических структур эквивалентами пе- реводящего языка позволила Бритаеву сохранить структуру тропа, но привела к утрате его эстетической функции. Перевод некоторых эпитетов требовал отхода от словарных соответствий и нахождения эквивалентов по смыслу. The article examines Sozyryko Britaev’s translation heritage, assesses the contribution of the translator to the theory and practice of literary translation. The author analyzes Britaev’s translations, identifies methods of recreating in his translated version the form and contents of the original text. The researcher considers ways of displaying contrast as a basic structure-forming element of the work in the translated text analyzing the story of L. N. Tolstoy «After the Ball» in the original and in Britaev’s translation. The study allows to conclude, that Britaev as a translator managed to reproduce the style of narration, the system of artistic images of the original, the architectonics of the work. The author traced the translation into Ossetian the original figures of speech (metaphors, epithets). On the whole the translator managed to reproduces these tropes retaining the original Russian writer’s creative manner. Replacing some individual metaphorical structures with equivalents of the language of translating allowed Britaev to preserve the structure of the tropes, but led to the loss of their aesthetic function. Translation of some epithets required a deviation from the lexical correspondences and finding semantic equivalents.


2020 ◽  
Vol 10 (5) ◽  
pp. 492
Author(s):  
Bernard M. Nchindila ◽  
Richard T. Torto

Little is known about persuasive effects of figures of speech in the English of advertisements in Ghanaian press. In the current study, we focused on this persuasive effect of figures of speech in the English employed in advertisements in newspapers in Ghana. Since advertising is a genre of mass media communication which unearths the exceptional qualities of products and services in a persuasive fashion, it is also a form of marketing communication through which business organizations inform the general public about new or improved commercial endeavors. Therefore, language plays an indispensable role in the transmission of the message. The language of advertising influences the reasoning, thinking, feeling and the general attitude of the audience. The study reported about in this article was underpinned by the Conventional Figurative Language Theory, utilizing the qualitative content analysis approach as the analytical framework. The findings revealed that copywriters of the Ghanaian newspapers employed English figures of speech (tropes and rhetorical figures) in advertisements for persuasive effect.


1988 ◽  
Vol 34 (2) ◽  
pp. 218-231 ◽  
Author(s):  
A. H. Snyman

The long history of research on Paul's style has neglected to a large extent the question of the functions of the various stylistic techniques used in his letters. This statement, however, needs some clarification. By ‘style’ here is not meant the traditional figures of speech and figures of thought, but all the linguistic choices an author has made in the light of restrictions imposed on him by the rhetorical situation. These choices include such things as vocabulary, grammatical forms, sentence patterns, sentence length, coherence devices, rhetorical figures, paragraphing, etc. ‘Function’ again does not refer to the familiar efforts of linking these linguistic choices with Greek and Roman textbooks on rhetoric and style; nor does it refer to the general remarks in grammars and other works on the Greek NT, when they speak of the emotional or emphatic or forceful function of certain stylistic figures. By ‘function’ here is meant what Kennedy calls ‘function in context’.


2005 ◽  
Vol 23 (4) ◽  
pp. 347-362
Author(s):  
Ruggero Morresi

Abstract ““Rhetoric in Hegel”” is meant as the treatment of rhetoric in theVorlesungen üüber die ÄÄsthetik, one of the author's posthumous works. It is a short exposition whose content does not reoccur in Hegel's systematic works. These remarks on persuasive speech, focused on oratorical and historiographical prose, are not significant for the economy of Hegel's thought. Yet in his texts on aesthetics and in his systematic works, traditional elocutionary and argumentative rhetorical figures appear without theoretical or historical justification. Such figures raise questions about the relationships of logic, language, and politics in Hegel and draw attention to analogical semantic isotopes. This is what is meant by ““Hegel's rhetoric””: a rhetoric that goes beyond the author's own definition, that deserves analysis from the perspective of Hegel's dialectics, and that reflects in important ways on contemporary topicality.


The article deals with figures of speech as the exponents of the writer`s individual style. The expressive possibilities and structure of linguistic and stylistic constructions are analyzed. Found out the influence of the figures, inputting to the text on the change of modal, grammatical and expressive components of the whole phrase. Structural changes in the syntactic organization of literary expressions can be investigated through their interaction with other stylistic figures - asyndeton, palillogy. The article also focuses on the constructions which helped the author to implement the emotionally-expressive coloring to the work most accurately. The stylistic-syntactic emphasis is made on rhetorical questions and appeals in combination with other stylistic figures - so they give to the text bright neoromantic sounding, at the same time combining it both syntactically and semantically, providing artistic expressiveness and a significant aesthetic influence on the reader. Partly in the article the relationship between formal and semantic content of individual linguistic units of a work is investigated. A compulsory characteristic of rhetorical figures is the construction of such verbal rotations, which are conditionally dialogical in nature. Among such pieces of speech, scholars identify questions, questions, statements, objections, and excerpts. It is worth noting that rhetorical designs are not as simple and transparent as they seem at first glance. Introduction to the text of rhetorical figures - is an indispensable interaction of modal, intonational, grammatical and expressive components of the phrase. The main figures of the language can be grouped according to function, role in the language, as well as the nature of the syntactic organization.


1999 ◽  
Vol 3 (1) ◽  
pp. 43-49
Author(s):  
Cornelia A. Tsakiridou,

This paper uses hermeneutics and language analpis to explore similarities between works of caring and works of art in different contexts and figures of speech. It proposes a way of reviewing and rethinking the human relationship to language and world that gives to art, philosophy, and nursing a common ground.


2021 ◽  
Vol 6 (16) ◽  
pp. 69-81
Author(s):  
Ahmet KONUKOĞLU ◽  
Mehmet Salih YOĞUN

Critical Discourse Analysis (CDA) is a frequently used method with the intent of serving a trustworthy evaluation of what is intended to mean when the language is used to define and commentate. It is therefore of capital importance to consider the social context, the manner and word selection while analysing a speech in order to avoid passively reporting upon since the speech is impregnated with its meaning and perspective. In this respect, the purpose of the current study was to search for the critical discourse analysis of the speech given by a then 12-year-old Canadian girl called Severn Suziki, an environmental activist, in United Nations Conference on Environment and Development (UNCED) in 1992 in order to draw the attention of 117 presidents and representatives of 178 nations to some crucial topics such as environment and global warming. The keyword analysis of the speech revealed that the most frequently used words were ordered as child, children, world and afraid confirming the main aim of the speech that the environment should be protected for the future generations. Critical discourse analysis of the speech demonstrated that Severn Suziki utilised 7 figures of speech such as alliteration, hyperbole, imagery, irony, parallelism, rhetorical questions and simile justifying that she had her own particularity and implemented various persuasive techniques and figures of speech.


Sign in / Sign up

Export Citation Format

Share Document