I denna uppsats undersöker jag hur det är möjligt att med hjälp av bland annat Ernst Cassirers teorier kring myter och genom att se hur dessa tar sig i uttryck i ett narratio, nå en utökad förståelse för argumentation genom att ta fasta på det som ligger utanför logikens och det rationella förnuftets område. Med utgångspunkt i Cassirer, kompletterad av Jean-Pierre Vernant, Cornelius Castoriadis och Jesper Svenbro, visar jag hur mŷthos hela tiden är närvarande i vårt tänkande, hur mŷthos skapar och omskapar mening samtidigt som denna mening sätts i spel genom olika myter. I argumentation tar dessa myter formen av det som i den antika dispositionen för ett argumenterande tal kallades narratio. En av de viktigaste funktionerna för narrationen är att skapa trovärdighet åt ett mŷthos och detta sker på fyra olika sätt: prosans genrekarakteristiska, diakrona handlingskopplingar, anagnorisis, samt den synkrona sammanlänkningen. Den sistnämnda ger också övergången till en annan viktig aspekt av trovärdighetsskapandet; elocutio, där jag undersöker två typer av figurer och troper: överförande och förstärkande. I de överförande figurerna kan vi se hur mŷthos bricoleras av betydelser hämtade från andra fält, medan vi i de förstärkande figurerna kan se vad som skapat ett specifikt mŷthos och vilket pathos som varit viktig för mytskaparen. Uppsatsens slutsats blir därmed att människan, trots vår uppfattning om argumentation som en rationell företeelse byggd på logik, istället alltid är, med Derridas ord, mytopoetiska bricoleurer. Vi kan därmed inte bortse från myterna när vi undersöker argumentation samtidigt som vi därmed också måste lämna önskan om att värdera, rangordna och systematisera all argumentation, en tro som ur detta perspektiv bara blir till en myt. För denna argumentationssyn med grunden i retoriken blir istället Aristoteles ideal fronesis viktigt, då detta synsätt innebär förståelse, som i förlängningen ger en klokhet om vilka handlingsval som i slutändan gör gott. / In this essay I examine how we, with the help of Ernst Cassirers theories concerning myths and by examining how these are expressed in a narratio, can achieve an expanded understanding of argumentation by also taking to account that which lies beyond the area of reason and logic. By building on Cassirer, complemented with the thinking of Jean-Pierre Vernant, Cornelius Castoriadis and Jesper Svenbro, I’m able to show how mŷthos always is present in our thinking, and how mŷthos always creates and recreates meaning while at the same time putting that meaning to use in various myths. In argumentation these myths take the form of the roman concept narratio. One of the key features of the narrative is to provide credibility to mŷthos, and this is done in four ways: through the characteristics of the prosaic genre, the diachronic linking of events, anagnorisis and the synchronic linking of events. The latter also provides the transition to another of the vital parts in the process of credibility¸ elocutio, where I examine two types of figures and tropes: transferring and emphasizing. The transferring figures gives us an insight of how we create mŷthos by taking in meaning from other fields, while the emphasizing figures show us how pathos always is important to the myth-maker. The conclusions of this essay is thus that man, despite our conception of argumentation as a rational phenomenon based on reason and logic, rather is, in Derrida’s words, a mythopoetic bricoleur. We can not ignore this when we set out to investigate argumentation and we have to abandon our wish to evaluate, rank and systematize all argumentation. Instead Aristotle provides us with an answer in his rhetorical ideal fronesis, because when we reach understanding of our myth-making it’s also possible for us to make decisions that will hopefully do good.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-26T10:53:41Z No. of bitstreams: 1 Davi Junqueira Marin.pdf: 4237779 bytes, checksum: cfec1db3ec20ddca7dbf3060f65d2808 (MD5) / Made available in DSpace on 2018-11-26T10:53:42Z (GMT). No. of bitstreams: 1 Davi Junqueira Marin.pdf: 4237779 bytes, checksum: cfec1db3ec20ddca7dbf3060f65d2808 (MD5) Previous issue date: 2018-10-02 / Pontifícia Universidade Católica de São Paulo - PUCSP / The present dissertation aims to arrive at a concept of narrator that embraces all the complexity of electronic networks writing. In order to do so, Facebook was chosen as an object of study to illustrate the rationale presented together with the concepts debated not only by their amplitude in terms of diversity of use, but as a product that also symbolizes some unanimity in our research context within an even larger environment, which we call here the Galaxy of Zuckerberg in the wake of the works of Marshal McLuhan. Since Walter Benjamin establishes his criticism in The narrator, we seek an analysis of classic concepts from the typographic universe brought by authors such as Paul Ricoeur, mainly, and Gérard Genette and Roland Barthes in the background, along with Todorov. Although our chronology of work beeing ultra contemporary and very current, the debate of concepts goes back to classical antiquity, the Middle Ages and modern times marked by the emergence of the Gutenberg press, when begins the process Benjamin will call death of the experience or death of the narrator. In illustrating the analysis of what we are calling networked writing, of real time narrative through examples drawn from Facebook profiles, we mark the birth of this new media galaxy emerging at the apex of the twentieth century and that made the typography mature while shining at the same time new mechanical-electrical techniques of reproduction of arts and storytelling, or artificial reproduction of experience, as Benjamin puts it. Thus, by pairing great authors in their great works, such as McLuhan and Benjamin, we get an overview of what can be the new electronic age precisely from the study of the transposition of the mŷthos in Paul Ricoeur, through concepts such as point of view and time in the composition of narratives. The central idea is that new faces do not change old habits and that although new media bring in its core the need to review themes and conceptual updates, the core of questions and habits are timeless and always obey the same structure, regardless of their context or their technological support. Concluding poetically as the question is worked in the same way through the course, we will agree with Walter Benjamin on the death of the narrator, but we will also agree with Marshal McLuhan in saying that he may be reborn in his new global village / A presente dissertação tem por objetivo chegar a um conceito de narrador que abrace toda a complexidade das escritas nas redes eletrônicas. Para tanto, o Facebook foi eleito como objeto de estudo para ilustrar o raciocínio apresentado juntamente com os conceitos debatidos não apenas pela sua amplitude em termos de diversidade de uso, mas enquanto produto que também simboliza certa unanimidade em nosso contexto de pesquisa dentro de um ambiente ainda maior, o que chamamos aqui de Galáxia de Zuckerberg na esteira das obras de Marshal McLuhan. A partir da crítica que Walter Benjamin estabelece em O narrador, buscamos uma análise de conceitos clássicos provenientes do universo tipográfico trazidos por autores como Paul Ricoeur, principalmente, e Gérard Genette e Roland Barthes em segundo plano, juntamente com Todorov. Embora nossa cronologia de trabalho seja ultra contemporânea, atualíssima, o debate dos conceitos remonta a antiguidade clássica, a Idade Média e os tempos modernos marcados pelo surgimento da prensa de Gutenberg, quando se inicia o processo que Benjamin vai chamar de morte da experiência, ou morte do narrador. Ao ilustrarmos uma análise do que estamos chamando de escrita em rede, de narrativa real time através de exemplos extraídos de perfis do Facebook, demarcamos o nascimento dessa nova galáxia de mídia que surge no ápice do século XX e que fez amadurecer a tipografia ao mesmo tempo em que brilharam novas técnicas mecânico-elétricas de reprodução de artes e de contação de histórias, ou de reprodução artificial da experiência, como coloca Benjamin. Assim, ao emparelharmos grandes autores em suas grandes obras, como McLuhan e Benjamin, conseguimos uma visão de conjunto sobre o que pode ser a nova era eletrônica justamente a partir do estudo da transposição do mŷthos em Paul Ricoeur através de conceitos como ponto de vista e tempo na composição das narrativas. A ideia central é a de que novas faces não mudam os velhos hábitos, e que apesar de novas mídias trazerem em seu bojo a necessidade da revisão de temas e atualizações conceituais, o cerne das questões e os hábitos são atemporais e obedecem sempre a uma mesma estrutura, independente de seu contexto ou de seu suporte tecnológico. Concluindo de forma poética assim como é trabalhada a questão durante todo o percurso, vamos concordar com Walter Benjamin sobre a morte do narrador, mas vamos também concordar com Marshal McLuhan ao dizermos que ele pode estar renascido em sua nova aldeia global