Argumentacja ex auctoritate w uzasadnianiu twierdzeń w tekstach homilii

Each public speech (including the homily) should be associated with showing the right which serves as the basis for accepting the presented statements. This is one of the fundamental features of the correct construction of a statement. The theological content of a homily can be presented on the basis of the classical form of argumentum ex auctoritate. As an inductive structure, this argument may promote specific ways of organising the whole speech. Firstly, in the rhetorical inventio structure, it allows the author to control the semantic coherence of the text. Secondly, in the structure of dis­positio, the authority can make for an interesting use of rhetorical narrative in homily text. Thirdly, argumentum ex auctoritate can be used to build the ethos of the preacher. Thanks to the above proposals, it is possible to influence the processuality of the text, which may determine the recognition and assimilation of the different key elements, both of which are crucial for preaching.

Introduction

This chapter establishes the fundamental question at the heart of the manuscript: in an increasingly interconnected world, shaped by persistent inequalities and asymmetries of power, what role can literature play in bringing us into ethical relation with one another? Bringing the tools and methods of rhetorical narrative theory to bear on the abiding concerns of ethnic and postcolonial literature, the Introduction complicates existing models of narrative ethics, both those grounded in empathy (sameness), and those that celebrate alterity (difference). Ultimately, this chapter offers haunting as a metaphor for the complex relationships that certain works of global fiction forge with their readers across boundaries of difference: intense, temporary, and potentially transformative.

Rhetorical Structure of Superstitious Images in Coleridge’s The Rime of the Ancient Mariner

The Rime of the Ancient Mariner by Samuel Taylor Coleridge was written in a way to inspire fear and create a somber, dark and terrifying atmosphere to attract the readers’ attention and to steer the attention of the readers to the themes of supernatural events and deep superstitions, thus highlighting these salient themes.The main aim of this study is to highlight the superstitious images in The Rime of the Ancient Mariner and analyse them according to Hoey’s (1983) Problem-Solution Pattern of rhetorical structure of discourse analysis by showing how certain lexical items can signal the narrative structure of the whole texts. The discourse analysis of the stanzas that carry superstitious images shows that this theory is applicable not only to sentences but to poems as well. Stanzas as grammatical units with complete thoughts can be analysed as well since they have the same narrative structure. The results show that all the stanzas, the subject of the analysis, have the rhetorical narrative structure components. They are namely; situation, problem, response, evaluation whether positive or negative.

Writing ‘Parrhesia’, Narrating ‘the Other Rwandan Genocide’

At the end of the 1994 Rwandan genocide, close to a million Tutsis and moderate Hutus had been murdered, and over 1.5 million people were either internally displaced or had fled over the borders into neighbouring countries and beyond for fear of reprisals from the advancing Rwandan Patriotic Front (RPF). This article places Marie Béatrice Umutesi’s Surviving the Slaughter (2004) and Pierre-Claver Ndacyayisenga’s Dying to Live (2012) within the context of post-1994 Rwandan testimonial literature that writes what is feared to be “the other Rwandan genocide,” particularly against those who fled to eastern Zaïre (now the Democratic Republic of Congo). In the two narratives, I argue, Umutesi and Ndacyayisenga destabilise and deconstruct the claim of genocide to create a literature that captures the anxieties of genocide memories in Rwanda. Specifically, Umutesi and Ndacyayisenga deploy a rhetorical narrative form that employs cynicism, bitter humour and a harsh tone to suggest that the suffering of Rwandans must not be seen, or even told, from a single perspective, and that only a balanced engagement with extant issues would lead to genuine reconciliation in Rwanda. To illustrate the ideological purpose at work in the two texts, I reference Michel Foucault’s parrhesia as a framework for understanding how the authors contest genocide memories in Rwanda.

Towards a theory of grotesque transparency: The case of Hugo Chávez

The main objective of this article is to lay the foundations of a theory of grotesque transparency that looks into the aesthetics of ‘ocular politics’. Inspired by Ramón del Valle-Inclán’s definition of the esperpento – a grotesque representation of the hero – this interpretative schema uncovers the rhetorical, narrative and iconic mechanisms that constitute a form of political communication that creates the illusion of total affective disclosure. We tested the premises of this theory by studying a public performance of the now-deceased Venezuela President Hugo Chávez where discursive genres overlap (presidential speech, comic soundbites and preacher’s homily), dissolving the ‘truth’ in an ‘excess of transparency’, and also performing a function of social criticism through desecration of institutional formalities.