Patterns of Literary Style

1973 ◽  
Vol 57 (3) ◽  
pp. 141
Author(s):  
Hans Wagener ◽  
Joseph P. Strelka
Keyword(s):  
Literary Style

“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.

Socrate nel Gorgia platonico: Ulisse nella teatrocrazia ateniese. Le armi della persuasione nel dialogo Gorgia di Platone

2020 ◽  
Vol 20 (2) ◽  
pp. 22
Author(s):  
Barbara Botter
Keyword(s):  
The Other ◽  
Literary Style ◽  
Discursive Strategies ◽  
Persuasive Strategies ◽  
Argumentative Strategies

L’obbiettivo del presente articolo è di circoscrivere ed approfondire lo studio di alcune strategie persuasive messe in atto da Socrate nel Gorgia platonico. Analizzando dapprima lo stile letterario, quindi gli scambi di battute fra gli interlocutori, ci proponiamo di evidenziare le ragioni della scelta platonica per lo stile drammatico, le strategie argomentative messe in atto dai protagonisti e le finalità in vista delle quali Platone crea un Socrate a due volti, un Socrate filosofo e un Socrate erista. In vista di ciò divideremo il testo in due sezioni principali: dapprima forniremo la cornice letteraria nella quale si inserisce il dialogo Gorgia; quindi esamineremo le strategie discorsive usate dagli interlocutori per difendere le rispettive tesi e giustificheremo la ragioni per cui la cura del discorso è importante per garantire un regime politico corretto. The aim of this article is to investigate the persuasive strategies produced by Socrates in the Plato’s Gorgias. First we’ll analyse the literary style, then the dialectical practices between Socrates and the other people, specifically Polo and Calicles. Our aim is to highlight the reasons why Plato choices a dramatic style in Gorgias; the argumentative strategies put in place by the protagonist and the other dialogue’s figures; and the Plato’s aims to create a Socrates with two faces: a Socrates philosopher and an eristic Socrates. With these aspects in mind, this paper has two main objectives. First we will consider the literary framework in which the dialogue Gorgias is put; then we’ll look at the discursive strategies used by the interlocutors to defend their arguments and justify why the care of speech is important to safeguard an appropriate politics.

Rabelaisian Comedy and Satire

2018 ◽  
Author(s):  
Nicholas McDowell
Keyword(s):  
Literary Culture ◽  
Critical Discussion ◽  
Francois Rabelais ◽  
Literary Style ◽  
English Prose ◽  
The Moment

This chapter discusses the influence of François Rabelais in English literary culture. It looks at this impact on earlier English prose narrative and fiction of Rabelais' loosely related tales of gluttonous, bibulous giants and their fantastic adventures, collectively known as Gargantua and Pantagruel (1532–64). ‘Rabelaisian’ is of course an adjective which in both criticism and common linguistic currency has become detached from its literary and authorial origins to become an alternative term for the ‘bawdy’, the ‘vulgar’, and the ‘earthily humorous’. The chapter shows the process beginning from the moment the term is coined to describe an author's character rather than appraise their literary style, evoking a sensibility healthily drawn to festivity and indulgence but also somewhat at odds with Christian decency. The generality of the term has doubtless contributed to the vagueness of much critical discussion.

Students' Literary Style

BMJ ◽  
1950 ◽  
Vol 1 (4659) ◽  
pp. 963-963
Author(s):  
R. J. L. Fraser
Keyword(s):  
Literary Style

‘Christ’s kingdom not of this world:’ the case of Benjamin Hoadly versus William Law reconsidered

1975 ◽  
Vol 12 ◽  
pp. 275-291 ◽  
Author(s):  
Henry D. Rack
Keyword(s):  
Literary Style ◽  
Devotional Writings ◽  
Do So

The traditional reputations of Hoadly and Law could hardly be more sharply contrasted. Hoadly’s latitudinarianism, his promotion on the bench for political reasons, his neglect of diocesan duties have long made him a favourite example for castigating the hanoverian episcopate. Law has been much more fortunate. Almost universally cited as a happy exception to the lax theology of his age; credited with a religious appeal to men of all parties; and praised for his literary style and powers of argument, Law has enjoyed a generally uncritical press, despite the difficulties of reconciling the early, orthodox controversial and devotional writings with his later and mystical works. Of the confrontation between Hoadly and Law over the Bangorian sermon, the prevailing opinion has been that of dean Hook: ‘Law’s “Letters” have never been answered, – may indeed be regarded as unanswerable’. Some, indeed, have suggested that Hoadly failed to reply directly to Law either through fear or inability to do so. Overton, however, with his customary fairness, allowed that Hoadly ‘was a very able controversialist and not afraid of any antagonist’. Hoadly claimed that others had replied to Law (who had not attempted to answer them), and that all of Law’s most important points had been answered in Hoadly’s Answer to the Representation.

Investigating Literary Translator’s Style in Span of Time: The Case of Sa‘di’s Gulistan Translated into English

2021 ◽  
Vol 66 (2) ◽  
pp. 214-230
Author(s):  
Mahmoud Afrouz
Keyword(s):  
The Other ◽  
Literary Style ◽  
English Translations

Abstract Stylistic issues have typically been considered as a challenge for literary translators. As far as literary style is concerned, Sa’di (1208–1291) is the most famous Persian poet. The present study aims at investigating the effect of time on the universals appeared in translating Sa’di’s style in the Gulistan. The corpus of the study consisted of the Gulistan’s two English translations: one by Rehatsek (1888) and its 2010 edition by Rosenbaum, and the other by Newman (2004). Baker’s (1996) framework, consisting of simplification, explicitation, normalization, and leveling out, was used as the basis for analyzing the collected data. As far as stylistic issues were concerned, it was realized that Rehatsek’s translation and its new edition by Rosenbaum, were not distinctly different. It was also found that the passage of time has had effects on selecting some specific features more than the others. Prosification was the most and leveling out was the least frequently observed features, while normalization and poetrification had never been detected. The findings also revealed greater tendency of recent translators to deviating from the ST author’s style and their stronger inclination towards providing easy-to-understand texts for today’s TT audience.

Reverie, Schmaltz, and the Modernist Imagination

2021 ◽  
Vol 74 (2) ◽  
pp. 289-363
Author(s):  
Alexandra Kieffer
Keyword(s):  
Nineteenth Century ◽  
Mass Production ◽  
Reference Points ◽  
Stephane Mallarme ◽  
Literary Style ◽  
French Music ◽  
Trace Back ◽  
Harmonic Language

Abstract In a review of 1895, Henry Gauthier-Villars described Claude Debussy’s Prélude à l’après-midi d’un faune as “musique de rêve,” a descriptor that has been attached to Debussy’s style ever since. Partly because of the importance of the Prélude within his compositional development, the distinctive sound of Debussy’s “dream music” has often been understood as a response to the hermetic and difficult literary style of French Symbolists, especially that of Stéphane Mallarmé. Yet Gauthier-Villars’s appellation of “musique de rêve” also invoked a specifically sonic (and largely forgotten) set of cultural reference points, an aural backdrop crucial for understanding Debussy’s early style in the 1880s and early 1890s—the widespread cultivation of the topos of reverie in French music in the final two decades of the nineteenth century. Settings of Baudelaire, Verlaine, and Mallarmé by Debussy and his young contemporaries around 1890 were infused with signifiers of dream and reverie that trace back to salon genres of the 1870s and that cross-pollinated with the harmonic language of the newly fashionable valse lente in the early 1880s. Hearing Debussy’s early works in the context of this reverie topos and its aural kinship to the popular valse lente sheds light on the extent to which the radical idiosyncrasy so vaunted by modernists was constantly evolving in tandem with—and could never truly free itself from—an aural culture defined by mass production, repetition, and cliché.

The Restaurants of Paris

2014 ◽  
Vol 14 (1) ◽  
pp. 33-43
Author(s):  
J. Weintraub
Keyword(s):  
Left Bank ◽  
Literary Style ◽  
Professional Career ◽  
Look Back ◽  
Annotated Translation ◽  
Restaurant Owners

A brief introduction summarizing the author's professional career and his literary style and procedure precedes this annotated translation of the chapter “The Restaurants of Paris” from Eugène Briffault's 1846 text, Paris à table. Along with an historical discussion and a look back at the glorious days of the Empire's establishments, the chapter examines the specialties, the décor, and the patrons of the grand restaurants of the author's time and before. Looking at the changing restaurant scene since the fall of Napoleon, Briffault criticizes, in particular, the contemporary preference for the opulence of the surroundings over the quality of the food. Along with several anecdotes about specific meals and peculiar characters, he also observes restaurant owners and their staffs, with particular regard to the skills and temperament of the Parisian waiter. Briffault considers such celebrated restaurants as the Cadran bleu, Rocher de Cancale, and Chez Véry—restaurants famous for their cuisine, the lively crowds, and the novelists (along with many of their characters) who dined there. But he does not ignore the role of the mid-range restaurants and bourgeois tables, and he descends as well into the lower depths, visiting the eateries catering to workers and the students on the Left Bank, the gargotes, the tapis francs, the prix fixes, the Flicoteaus and Rougets.

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