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Richard Whately's theory of argument and its influence on the homiletic theory and practice of John Albert BroadusVogel, Robert Allan 01 January 1986 (has links)
In his Treatise On the Preparation and Delivery of Sermons, the Southern Baptist preacher and educator of the latter nineteenth century, John A. Broadus, acknowledged the influence of classical and contemporary theorists upon his work. Among those named, particularly with regard to notions of argument, was Richard Whately, the Anglican Archbishop and rhetorical theorist of the early nineteenth century. The research task involved in this thesis was to determine whether and to what extent Whately's theory of argument was employed in Broadus's homiletic theory and practice.
The writer gathered his data using methods of documentary research. Most of the sources were available at local libraries. Others, however, were obtained from the Universities of Kansas, Iowa, and Michigan. Materials by and concerning Broadus were obtained from various Baptist historical agencies.
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Theodore Dwight Weld's use of the judicial motif in American Slavery As It Is: Testimony of a Thousand WitnessesTrudeau, Justin Thomas 02 December 1998 (has links)
This thesis examines the rhetoric of Theodore Dwight Weld's American Slavery
As It Is: Testimony of a Thousand Witnesses. Published anonymously in 1839, Weld's
publication became the longest antislavery tract in American history. It left its mark on
the abolitionist movement itself and future antislavery literary works most notably
Uncle Tom's Cabin.
Despite its historical and rhetorical importance, Weld's text has been subjected to
little critical exploration. This being the case, it is the goal of this study to find the
dominant means of persuasion that Weld used to argue to antebellum northern audiences
that slavery is evil and should be abolished.
Weld accomplishes this goal by using a judicial motif throughout his tract. In his
text, Weld acts as prosecutor and asks his readers to act as jurors in judging the
legitimacy of slavery in the United States. In doing so, Weld relies on evidence in the
form of testimony and newspaper advertisements to prove his arguments.
I utilize the Hermagorian system of stasis to shed light on Weld's use of the
judicial motif. This system points to four main questions, which represent the main
stands of argument between a prosecutor and defense. The four main questions are the
stases of conjecture, definition, quality, and objection.
Under the stasis of conjecture I show that Weld demonstrates that slavery results
when individuals are motivated by absolute arbitrary power. Under the stasis of
definition I argue that the South offered the justifications of "necessary evil" and
"positive good" in linking their way of life to the institution of slavery. Weld rejects
these justifications and establishes his own account of slavery to be a thirst for absolute
power over others. In the third stasis of quality I show that Weld argues that human
nature is against slavery and therefore, should be abolished. In the last stasis of objection
I show that Weld answers the question of whether abolitionists are justified in
condemning slavery.
Using The Hermagorian system of stasis shows that although each one is
applicable to an analysis of Weld's tract, the stases of quality and objection are the most
fruitful in establishing the effectiveness of Weld's rhetoric. By combining both emotion
and logic for his jurors, Weld accomplishes his role as prosecutor in the case. Once his
jurors act in accordance to the judicial motif as members of humanity and see the slaves
in the same light, they are forced to bring back a just verdict of guilty because slavery is
against the very essence of humanity itself. / Graduation date: 1999
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L'humour, instrument journalistique dans l'oeuvre d'Hector Berthelot (1877-1895)Gosselin, Sophie January 2007 (has links) (PDF)
L'histoire de la presse humoristique est un champ de la discipline qui a été redécouvert récemment. C'est pourquoi, jusqu'ici, l'oeuvre d'Hector Berthelot, rédacteur et éditeur de journaux satiriques à Montréal entre 1877 et 1895, a principalement été analysée sous l'angle de l'histoire de l'art. Mais cet intérêt pour l'aspect graphique des caricatures éclipse leur contenu, en plus de ne pas tenir compte du texte, qui constitue pourtant l'essentiel du travail de l'humoriste. Le présent mémoire se penche donc spécifiquement sur le propos des journaux de Berthelot. Plus précisément, il s'agit de déterminer les fonctions occupées par l'humour dans son travail journalistique. Pour ce faire, nous avons analysé les six titres dont il a été le rédacteur et l'éditeur, procédant par un examen général des journaux ainsi que par l'étude approfondie d'un échantillon représentatif. Dans un premier temps, nous brossons un portrait de l'homme et de son époque à l'aide d'extraits des différents journaux de Berthelot. Nous abordons son parcours, ses différentes feuilles, les conditions de production générales des journaux canadiens-français au XIXe siècle ainsi que la place spécifique de la presse satirique. Par la suite, nous identifions deux fonctions de l'humour dans l'oeuvre de Berthelot. La première est sa volonté d'indépendance, lui qui a évolué à l'époque de la presse d'opinion, dans un milieu très polarisé. Ne gagnant pas la faveur de son lectorat par une allégeance politique, il a eu recours à la blague pour le séduire. Ce procédé lui a donc servi à se faire pardonner de ne pas suivre l'une des principales normes régissant la presse de son temps. En s'exprimant par l'humour, notamment en employant des personnages dans des mises en scène satiriques, il a pu tenir ce discours inhabituel tout en conservant la sympathie du public. Le second objectif du ton ludique utilisé par Berthelot est de nature pédagogique. À une époque où l'analphabétisme connaissait une régression significative, il a voulu rendre ses journaux accessibles aux classes moins instruites. Il a donc employé des personnages et des images humoristiques accessibles, notamment en ayant recours aux références traditionnelles canadiennes-françaises, son public étant en grande partie issu de l'exode rural. Il a placé les décideurs de son époque dans des situations familières pour les mettre à la portée de tous, et ainsi favoriser l'intérêt populaire pour les questions politiques. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Hector Berthelot, Histoire, Journalisme, Humour, Québec 1877-1895.
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Social movement theory and the reconstruction of the past: a case study of Augusto César Sandino and the Frente Sandinista de Liberación NacionalCampbell-Jeffrey, Nancy 28 August 2008 (has links)
Not available / text
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20th century romantic serialism : the Opus 170 greeting cards of Mario Castelnuovo-TedescoAsbury, David S., 1963- 09 August 2011 (has links)
Not available / text
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T. H. Huxley's defense of Charles Darwin's Origin of speciesHarvey, Mary Jolyne, 1934- January 1960 (has links)
No description available.
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Soldier in the Southwest: the career of General A. V. Kautz, 1869-1886Wallace, Andrew January 1968 (has links)
No description available.
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Buster Keaton and things : an analysis of Keaton as a uniquely Twentieth-century artistSaint-Pierre, Leopold George Henry. January 1976 (has links)
No description available.
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Analyse dialogique de l'activité interprétative chez Freud et BakhtineTouchette, Martine January 1995 (has links)
Even if they rely on apparently quite different investigation domains and ideologies, both Freud and Bakhtin participate to that current which in the XXth century would upset the foundation of the positivist thought and would modify profoundly the traditional conception of science, language and the cartesian vision of the conscience and of the human subject. The thought of one as of the other, therefore, surpasses largely the principal reason of their research: If Freud applies the principles of the interpretation of dreams to the study of literary works, Bakhtin expands on the novel theory and questions polyphony and dialogism of all language. In conception of the literary speech of Bakhtin and of the dreams of Freud, the signs, the speeches and the multiple intentions or affects that animate them are constantly in dynamic interaction and obey it seems, to mechanism of similar transformation. The problem of interpretation is at the center of their works. The two authors are at the same time theoreticians and analysts of whom the theory of literature, of speeches, of work and dreams, pass necessarily by an act of interpretation. We are aware of the role played by the novels of Dostoievski on the theoretical work of Bakhtin. For Freud also, the principles of the work on dreams, according to his own affirmation develop with the interpretation process. We have to think that for him as for the Russian researcher, the theory is always in a link of active complicity with the interpretation; that one and the other are constantly mutually reflected and determined. A compared analysis of their texts can put in evidence the proximity of the thought processes of the thinkers, but can reveal also the differences, with their consequences from the point of view of ideology, ontology, even ethics.
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Fonte per la storia materiale dell'opera verdiana La TraviataAngelini, Maria Luisa. January 1998 (has links)
If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from. / This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .
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