Thesis (doctoral)--Universiteit van Amsterdam, 1994. / "Stellingen" laid in. Includes bibliographical references (p. [282]-290).

L’encyclopédie en neuf livres de Martianus Capella, vraisemblablement composée au début du Ve s. après J.-C., se situe à la transition entre les conceptions antiques et médiévales de la « formation libérale ». Sept sciences, dons de Mercure à Philologie, exposent leur discipline devant les dieux, et forment un programme d’ascension de l’âme vers le monde divin et rationnel. En promettant un exposé conforme au statut de science (disciplina) qu’elle partage avec ses six compagnes, Rhétorique propose de dépasser les débats dont elle fait l’objet : son enseignement veut construire un art général de l’argumentation persuasive. Notre étude définit la place du livre 5 dans l’œuvre de Martianus et dans la tradition rhétorique antique. Contrairement aux traités des rhéteurs latins tardifs qui nous sont parvenus, le traité du livre 5 adopte (et adapte) les orientations des derniers ouvrages rhétoriques de Cicéron (le De oratore notamment) : la théorie est conçue pour répondre aussi bien aux questions « particulières », domaine des orateurs, qu’aux questions « générales » et philosophiques. Cette conception de la rhétorique n’est pas nouvelle : elle s’appuie sur des traditions philosophiques d’enseignement de la rhétorique, notamment développées dans des cadres péripatéticiens et académiciens. Le traité de Martianus est toutefois le seul témoin tardif qui reprenne ces perspectives avancées, et cherche à les organiser sous forme systématique. Science de la parole persuasive, la rhétorique occupe une place essentielle dans la mise en œuvre du projet de Martianus, et constitue une étape importante avant le principe plus élevé représenté par l’harmonie. / Martianus Capella’s encyclopedic work, probably composed in the early 5th century A.D., forms an original transition between Ancient and Medieval conceptions of "liberal education". As wedding gifts given by Mercury to Philology, seven Sciences present their branch of knowledge in a divine assembly : this scientific programme aims at the ascension of the soul towards the divine and rational world. Rhetoric answers (and goes beyond) the traditional critics directed against oratory. She promises a presentation consistent with the status of science (disciplina) she shares with her six companions : her teaching builds a general art of persuasive argument. Our study defines the position of Book 5 in Martianus’ work and in the Ancient rhetorical traditions. Whereas the Late Latin rhetorical handbooks that have survived partake of the « standard » rhetorical teaching, Martianus’ Book 5 adopts (and adapts) the guidelines of the Cicero’s latest rhetorical works (especially De oratore) : the theory is designed to meet both "particular " questions, area of orators, and the "general" philosophical questions. This conception of rhetoric is not new : it relies on philosophical traditions of teaching rhetoric that were developed in Peripatetic and Academic settings. Martianus’ Book 5 is however the only Late Antique testimony that embraces these advanced prospects, and seeks to organise them in a systematic form. As the science of persuasive speech, Rhetoric plays an essential role in Martianus’ project, and constitutes an important step before the higher principle represented by Harmony.

Orientador: Marcos Aurelio Pereira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-11T07:33:57Z (GMT). No. of bitstreams: 1 Jesus_CarlosRenatoR.de_M.pdf: 1198876 bytes, checksum: 47d9c534d0394b1393913f7cdbf280a2 (MD5) Previous issue date: 2008 / Resumo: Nosso trabalho consiste em fazer um aparato crítico e introdutório, bem como uma tradução para o português de parte do Orator, de Cícero, obra que trata da formação do orador e da questão do ritmo no discurso oratório. O tema central do Orator é a busca da definição do melhor estilo oratório (genus orationis optimorum) que caracteriza o orador perfeito. Um elemento importante para compor esse estilo é a correta e eficiente utilização da chamada ¿prosa rítmica¿, que Cícero sistematizou no seu livro. Assim, a tradução da parte concernente a esse assunto começa mais especificamente no parágrafo 140 e vai até o final (parágrafo 238). Não obstante, será preciso, antes de tudo, uma busca cuidadosa dos precursores da prosa rítmica, no contexto da retórica clássica greco-romana, já que, a despeito do trabalho inovador de Cícero em teorizar aprofundadamente esse assunto, não foi ele quem criou o discurso ritmado. As origens desse tipo de discurso encontram expoentes entre os primeiros sofistas gregos (Trasímaco da Calcedônia, Gorgias e Isócrates principalmente), aos quais o orador romano faz referência na sua obra. Dessa forma, num primeiro momento, procuraremos expor as bases e as primeiras manifestações da prosa artística anteriores ao texto de Cícero, assim como apresentar panoramicamente os principais elementos de sua obra, para então, no segundo capítulo, fazer algumas reflexões preliminares acerca de algumas questões que perpassam o tratado: o problema do ritmo e a estrutura do período oratório / Abstract: This study consists of producing an introductory critical apparatus, as well as a translation into Portuguese, from part of the Orator, Cicero¿s work, which deals with the orator formation and the rhythm issue on oratory speech. The main theme of the Orator is the search for the definition of the best oratory style (genus orationis optimorum) that characterizes the perfect orator. An important element to compose this style is the correct and efficient usage of the so-called ¿prose rhythm¿, which has been systematized by Cicero in his book. The translation of the part concerning to this subject starts exactly at paragraph 140 and goes on until the end of the book, paragraph 238. However, before doing so, it will be necessary to do a detailed research on the rhythmic prose precursors, inserted in the context of classical Greek-Roman rhetoric, due to the fact that it was not exactly him who created rhymed speech, even considering his innovative work on this subject. The origins of this type of speech find its early exponents in the first Greek sophists (mainly Thrasymachus Calchedonius, Gorgias and Isocrates), authors to whom the Roman orator makes reference in his work. Thus, initially, we will expose the basis and the first manifestations of artistic prose which are previous to Cicero¿s text, in order to, in the second chapter, present some preliminary reflections about the issues that are implicitly dealt with in part of the Orator: the rhythm an the structure of oratory period / Mestrado / Mestre em Linguística