Beauty, Wisdom, and Handiwork in Proverbs 31:10–31

2019 ◽  
Vol 113 (1) ◽  
pp. 45-62
Author(s):  
Jacqueline Vayntrub
Keyword(s):  
Subsequent Generation ◽  
Rhetorical Device ◽  
Feminine Subject ◽  
Willed Action

AbstractThe book of Proverbs concludes with an alphabetic acrostic that describes and praises its feminine subject (Prov 31:10–31). The poem’s praise closes with a generalized critique of beauty, its deceptiveness and short-lived nature (v. 30). What function does this critique of beauty serve in light of the praise of the woman and her deeds? How do the poem and, specifically, this critique of beauty function in the broader organization of the book of Proverbs? This study argues that the poem rejects innate beauty in favor of acquired wisdom, a message that can be found elsewhere in Proverbs. The poem rejects beauty through an appeal to a rhetorical device—the “totalizing description”—which is used elsewhere to argue for a subject’s beauty or perfection. Through the structure of the alphabetic acrostic, the poem carefully embeds its message of willed action and acquired wisdom; using a description of the woman’s successive deeds, the poem shows how each deed leads to the enduring success of the woman’s family, her community, and the subsequent generation.

Sentimental Conviction: Rousseau’s Apologia and the Impartial Spectator

2018 ◽  
Author(s):  
Adam Schoene
Keyword(s):  
The Self ◽  
Careful Study ◽  
Moral Sentiments ◽  
Impartial Spectator ◽  
Direct Discourse ◽  
Rhetorical Device ◽  
The Spectator ◽  
Theory Of Moral Sentiments

Where Adam Smith’s The Theory of Moral Sentiments (1759) extends the domain of spectatorship beyond the ocular realm and claims that we must become the impartial spectators of our own character and conduct, Jean-Jacques Rousseau’s Rousseau juge de Jean-Jacques, Dialogues (1776) also attempts to probe beyond the visual surface to examine through careful study the constitution of another, who is actually himself. This chapter traces a Smithian sentiment in the radical division of the self dramatized in Rousseau’s fictional autobiographical Dialogues, emphasizing Rousseau’s attempt to liberate his own gaze and render an unbiased judgment upon himself. Although Rousseau does not write in direct discourse with Smith, he applies a strikingly similar rhetorical device to the spectator within the dialogic structure of his apologia. Reading Rousseau alongside Smith resituates the Dialogues not as a work of madness, as it has frequently been interpreted, but rather as an unrelenting struggle for justice.

“You Were Not There,” The Creation of Humility and Knowledge in Qur?anic Stories: A Rhetorical and Narratological Analysis

2017 ◽  
Vol 11 (1) ◽  
pp. 65-94 ◽  
Author(s):  
Leyla Ozgur Alhassen
Keyword(s):  
Second Person ◽  
Literary Style ◽  
Rhetorical Device ◽  
The Creation ◽  
Lack Of Knowledge

In this study, I explore verses in the Qur?an that come towards the end of stories and use a second-person address to say, “you were not there” when this happened. I seek to understand what literary function in the story it serves to address the second person and her/ his lack of knowledge, whomever s/he is. I locate all of these verses (3:44, 11:49, 12:102 and 28:44–46) and analyze them in order to obtain a better understanding and analysis of Qur?anic literary style. I focus on what these stories have in common and how the verses function. In addition, I analyze the verses and their roles in their respective stories. Through this analysis, we see that these verses are generally seen by commentators and modern scholars as asserting the Prophet’s authority and the Qur?an’s authenticity. However, I argue that these verses function as a sophisticated Qur?anic literary and rhetorical device that works to put people in their place: Prophet Mu?ammad, his contemporaries, and all of the Qur?an’s audience, by showing them their lack of knowledge and their temporality.

Christograms as Signs of Authority in the Late Roman Empire

2018 ◽  
Author(s):  
Ildar Garipzanov
Keyword(s):  
Roman Empire ◽  
Final Section ◽  
Fifth Century ◽  
Rhetorical Device ◽  
Early Christian ◽  
Courtly Culture ◽  
Diachronic Change ◽  
Late Roman

The first section tests the main interpretations of Lactantius’ passage on Constantine’s victorious sign in 312 against existing graphic evidence from the 310s and early 320s, and consequently supports the interpretation of Lactantius’ description as a rhetorical device invented or modified by the Christian narrator. The next two sections support the argument that the perception of the chi-rho as Constantine’s triumphant sign became entrenched in courtly culture and public mentalities from the mid-320s onwards, and trace the diachronic change of the chi-rho from its paramount importance as an imperial sign of authority under the Constantinian dynasty to its hierarchic usage alongside the tau-rho and cross in the Theodosian period. The final section presents a contextualized discussion of the encolpion of Empress Maria and mosaics from several early baptisteries, illustrating the paradigmatic importance the chi-rho and tau-rho for early Christian graphicacy around the turn of the fifth century.

Eschatology in Isaiah

2020 ◽  
pp. 351-374
Author(s):  
Soo J. Kim
Keyword(s):  
Fixed Points ◽  
Rhetorical Device ◽  
Book Of Isaiah ◽  
Mount Zion ◽  
Eternal Hope

This chapter presupposes that the eschatological language of the book of Isaiah is a working rhetorical device for expressing something else underneath it rather than a straightforward description of one’s visionary experience of the afterlife or the end series of this world. Accordingly, it addresses the eschatologically addressed rhetorical discourses in Isaiah. Using adjectival consultation to define “eschatologically,” it argues that the language of these eschatological texts is strong enough to be universal (spatial fullness), ultimate (temporal fullness), and radical (fullness in degree). This strategy aims to rationalize the national crises, as well as to encourage readers to practice proper ethics during those critical and liminal periods. The book of Isaiah illustrates several dystopias and utopias in the eschatologically addressed discourses with the two fixed points—Jerusalem and the Remnants—to serve as witnesses through the ages. Overall, these discourses seek to reassure readers of all ages to understand the divine transformation plan and to join the Torah-based community on Mount Zion for the eternal hope in this world.

Tentativeness in term formation

Terminology ◽  
2012 ◽  
Vol 18 (1) ◽  
pp. 27-58 ◽  
Author(s):  
Mojca Pecman
Keyword(s):  
Discourse Analysis ◽  
Scientific Communication ◽  
Scientific Texts ◽  
Rhetorical Device ◽  
The Creation ◽  
Analysis Of Variation

The study on term formation presented in this paper is related to the problem of determining the function of neologisms in scientific communication and to the issue of processing the concomitant variation, typical of such new denominations. Our analysis of scientific texts shows that neologisms can have quite a different role in scientific communication than they are generally credited with in terminological studies. The well-known referential role, consisting of the creation of a new designation for naming a new concept is overshadowed in scientific texts by a more rhetorical role. Here the scientist resorts consciously to variation, hence creating a “neology effect”, specifically for the reason of emphasising various novel aspects of his thought. This function of neology as a rhetorical device is generally glossed over in terminology studies, in much the same way as the analysis of variation used to be, due to the expected stability that neologism should eventually gain in line with well-established terms. Consequently, in this article, we try to place the phenomenon of neology within the framework of discourse analysis.

On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat

2001 ◽  
Vol 18 (3) ◽  
pp. 458-489
Author(s):  
Robert M. Cammarota
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Dramatic Effect ◽  
Rhetorical Device ◽  
The Third ◽  
Musical Texture ◽  
Compositional Practice ◽  
Formed Part ◽  
Early 18Th Century

The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.

Contrast, a rhetorical device in Euripidean lyric

Euphrosyne ◽  
2002 ◽  
Vol 30 ◽  
pp. 39-48
Author(s):  
Frederico Lourenço
Keyword(s):  
Rhetorical Device

scholarly journals Paradox and legitimacy in construction: how CSR reports restrict CSR practice

2019 ◽  
Vol 37 (2) ◽  
pp. 231-246 ◽  
Author(s):  
Greg Watts ◽  
Scott Fernie ◽  
Andy Dainty
Keyword(s):  
Qualitative Content Analysis ◽  
Qualitative Interviews ◽  
Content Type ◽  
Rhetorical Device ◽  
Csr Reporting ◽  
Public Body ◽  
Corporate Social ◽  
The Impact ◽  
The Relationship ◽  
Communication Methods

PurposeCorporate social responsibility (CSR) is a prominent topic of debate, and yet remains subject to multiple interpretations. Despite this ambiguity, organisations need to communicate their CSR activity effectively in order to meet varied stakeholder demands, increase financial performance and in order to achieve legitimacy in the eyes of clients and various stakeholders. The purpose of this paper is to explore how CSR is communicated, and the impact such communication methods have on CSR practice. More specifically, it examines the disconnect between the rhetoric espoused in CSR reports and the actualities of the ways in which CSR is practiced.Design/methodology/approachA qualitative content analysis of 100 CSR reports published by nine construction contractors informed the design of qualitative interviews. In total, 17 interviews were then conducted with contractors and public body clients.FindingsStrategic ambiguity explains how contractors circumvent the problem of attending to conflicting stakeholder CSR needs. However, this results in a paradox where CSR is simultaneously sustained as a corporate metric and driver, whilst being simultaneously undermined in being seen as a rhetorical device. By examining this phenomenon through the lens of legitimacy, the study reveals how both the paradox and subsequent actions of clients that this provokes, act to restrict the development of CSR practice.Originality/valueThis is the first study to use the lens of legitimacy theory to analyse the relationship between CSR reporting and CSR practice in the construction industry. In revealing the CSR paradox and its ramifications the research provides a novel explanation of the lack of common understandings and manifestations of CSR within the construction sector.

scholarly journals Poetic Justices and the Legalities of Love

2000 ◽  
Vol 31 (1) ◽  
pp. 103
Author(s):  
Sandra Petersson
Keyword(s):  
Legal Analysis ◽  
Rhetorical Device ◽  
Legal Definition ◽  
Definition Of

This article was presented as a Victoria University of Wellington Centennial Lecture during Law Festival Week in 1999. The article surveys the use of poetry in written judgments. The author suggests that judges most often quote poetry as a rhetorical device, for one of three common purposes: (a) to comment on the parties or facts; (b) to divert from the legal analysis; (c) to introduce the judgment. In addition to these rhetorical purposes, judges also resort to poetry when required to address the topic of love. In assessing whether to recognise a legal tie between parties in a relationship, love is not an express requirement. Lacking a legal definition of love, judges turn to poets.

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