Thesis (Ph. D.)--University of Delaware, 1992. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 660-682).

Thesis--Yale University.

This study seeks to determine the extent to which Jimmy Swaggart's program for defense in 1988 complies with the expectations of the apologia genre. Three discourse media are examined for evidence of denial, bolstering, differentiation, and transcendence. Swaggart's defense is classified as "justificative" in that it seeks approval of actions. Swaggart's motivating drive force is defined as the need to assure the financial success of his ministry. Swaggart's defense is then compared with the past apologies of Nixon, Truman, and Kennedy. It was determined that certain apologies cannot serve as a reference standard if the contextual factors are not similar. There are some rhetorical resources available to religious figures that are not available to politicians.

Orientador: Eduardo Roberto Junqueira Guimarães / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T15:32:03Z (GMT). No. of bitstreams: 1 Alonso_Denise_M.pdf: 705824 bytes, checksum: 61949cdc13010477b35a1d452aa64df3 (MD5) Previous issue date: 2010 / Resumo: O trabalho diz respeito à investigação da argumentação de textos de auto-ajuda e realiza-se, sobretudo, sob os pressupostos das teorias retóricas argumentativas de Chaiim Perelman e através de fórmulas da Semântica enunciativa (apresentadas por Eduardo Guimarães), utilizadas como dispositivo regente para as análises do conectivo argumentativo conclusivo portanto, que atua como um dos maiores responsáveis pela persuasão em textos de auto-ajuda. Como o conteúdo da literatura dessa natureza é essencialmente pautado em dóxa, sua estrutura predominantemente tautológica e composta por argumentação ad hominen, procuramos abordar quais os mecanismos utilizados para a constituição da pretendida significação bem como as regularidades que funcionam e fazem funcionar este advento sintomático da contemporaneidade / Abstract: This material says about investigation of texts discussion of self help and performs, especially, below assumptions from argumentative rhetoric theory by Chaiim Perelman and besides semantic enunciative tactics (shown by Eduardo Guimarães), used as ruler device to the analysis of connective argumentative conclusive therefore, which act like one of the biggest responsible for persuasion in self help texts. As content this kind of literature is essentially guided by doxa, its structure predominantly tautological and compound for argumentation ad hominen, seek to approach what's the mechanisms used to constitution of desired significance and like the regularities that work and make to work this advent symptomatic of the contemporaneity / Mestrado / Mestre em Linguística

This study critically analyzed four selected campaign speeches by Robert Kennedy from his 1968 campaign to determine his use of the Camelot myth and his success in portraying himself as the heir apparent to the Kennedy legend. Using procedures adapted from fantasy theme analysis, the rhetorical vision of Camelot was outlined, and the fantasy themes and fantasy types within it were determined. The public persona of Robert Kennedy was also evaluated. Throughout the speeches analyzed, Robert Kennedy invoked themes identified within the rhetorical vision of Camelot. In addition to his own themes of social justice and reconciliation, Kennedy promoted his brother's legend. Chaining evidence provided proof of the public's participation in the rhetorical vision demonstrating Kennedy's success with these themes.

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:42:54Z (GMT). No. of bitstreams: 1 Nunes_Aline_M.pdf: 7800220 bytes, checksum: 1060c0c513828e6e0a06e16da0104e2a (MD5) Previous issue date: 2015 / Resumo: Esta investigação quer refletir a respeito da discursividade do ator em cena partindo do conceito de Dialogismo. Consideramos discurso como o resultado da interação dialógica de "vozes" e, para compreender tal interação, pedimos o auxílio dos filósofos do chamado "Círculo de Bakhtin". Além desta diretriz filosófica, há, aqui, também, o desejo de procurar, no pensamento produzido pelo próprio teatro, lastro para o aprofundamento em tal matéria. Segundo a óptica empregada neste estudo, toda palavra enunciada em cena assume três componentes distintas e concomitantes: a componente gestual, entonacional e verbal. Da interação destas componentes é que nasce o sentido do enunciado e o que chamaremos de palavra- corpo. Na visão desta investigação, um enunciado é algo que vai muito além do logos da mensagem; ele se faz presente e manifesta-se por meio do corpo do enunciador, transformando o próprio corpo em enunciado concreto. Aqui as principais vozes que constituem a palavra-corpo são chamadas de voz da "materialidade", voz do "imaginário", voz da "ideologia" e voz da "intuição". Segundo Bakhtin, as vozes de um discurso dialógico podem interagir de forma Heteroglóssica (ou Plurilinguista), e, nesta forma, as potências vocais são diferentes, estabelecem hierarquias; ou Polifônica, em que as mesmas vozes dialogam em equipotência. Para analisar o processo de composição de tais "palavras" escolhi como objeto os discursos empreendidos pelos intérpretes de "Primus", da "Boa Companhia" de Campinas (SP), e "Prometheus ¿ a tragédia do fogo", da paulistana "Cia. Teatro Balagan". Busco, assim, compreender o processo de composição discursiva do ator a partir de suas técnicas corporais, do jogo e da imaginação, de suas influências culturais, éticas e teóricas e, por fim, por meio de sua relação com a intuição, com o instintivo e o saber que não passa pela racionalidade / Abstract: The present investigation aims to reflect upon the discursiveness of the actor on the scene based upon the concept of Dialogue. The term discourse is herein understood as the upshot of the dialogic interaction of voices. In order to comprehend this interaction we call upon the philosophers of the Bakhtinian Circle. Besides the mentioned philosophical guidelines, there is also the desire to search within the knowledge produced inside the realm of theatre itself, for foundations that enable further delving into the matter. Conforming to the standpoint adopted in the present study, every word uttered on the scene assumes three distinct and concomitant components: gestural, intonational and verbal. It is from this interaction that arises the meaning of the enunciation and what we shall call body-word. In the perspective of the present investigation, enunciation is something that goes far beyond the Logos of the message; it is present and unfolds itself through the body of the enunciator, transforming the body itself in a concrete enunciation. The preeminent voices that constitute the Body-word are herein defined as: voice of "materiality"; voice of the "imaginary"; voice of "ideology", voice of "intuition". According to Bakhtin, the voices of a dialogic discourse may interact Heteroglossically (or Plurilinguistically) ¿ whereby the power of the voices is unequal and hierarchies are established ¿ and Polyphonically through which voices are put into dialogue in equipotent manner. In order to analyse the compositional process of the mentioned words I chose as object, the discourses put forth by the interpreters in "Primus" by a theatrical company established in Campinas (SP), and "Prometheus ¿ a tragédia do fogo" by "Cia. Teatro Balagan" a company based in São Paulo. I therefore aim to comprehend the actors¿ process of discursive composition stemming from their corporal techniques, the play of imagination, cultural, ethical and theoretical influences and lastly by virtue of their relationship with intuition, with what is instinctive and what is not rationally known / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Felix Mendelssohn Bartholdys christliches Selbstbild steht heute gemeinhin außer Frage. Jedoch ist nach wie vor von Interesse, auf welche Weise er seine protestantische Spiritualität ganz konkret auslebte und welcherart seine Glaubensüberzeugungen waren. Diesen Fragen widmet sich diese Staatsexamensarbeit, wobei neben dem Konfirmationsbekenntnis aus dem Jahr 1825 und weiteren schriftlichen Quellen (vornehmlich die Korrespondenz mit Julius Schubring) insbesondere der Entstehungsprozess des mendelssohnschen Oratoriums Paulus Beachtung findet. Die Forschungsfrage lautet: Inwiefern lassen sich aus der Analyse des Konfirmationsbekenntnisses sowie des Entstehungsprozesses des Oratoriums Paulus von Felix Mendelssohn Bartholdy Schlüsse auf dessen protestantische Spiritualität ziehen? Es werden folgende Hypothesen überprüft: 1. Das Konfirmationsbekenntnis sowie der Entstehungsprozess des Oratoriums Paulus legen nahe, dass Mendelssohns protestantische Spiritualität weniger in der schlichten Bibelgläubigkeit des Pietismus als vielmehr in einem aufgeklärten, eher rationalistischen Protestantismus bestand. 2. Im Libretto des Paulus können Anhaltspunkte der Theologie Friedrich Daniel Ernst Schleiermachers nachgewiesen werden, die darauf schließen lassen, dass Mendelssohn diese teilte und infolgedessen als ein Anhänger Schleiermachers bezeichnet werden darf.:1. Einleitung 1.1 Relevanz der Thematik 1.2 Forschungsfrage und Hypothesen 2. Mendelssohns religiöse Prägung in der Kindheit 2.1 Der Einfluss der Eltern 2.2 Das Konfirmationsbekenntnis 2.2.1 Vorbemerkungen und Forschungsstand 2.2.2 Erkenntnisse aus dem Dokument 2.2.3 Resümee 3. Die Genese des Paulus-Librettos 3.1 Umstände der Entstehung 3.2 Theologen, die bzgl. der Genese Einfluss auf Mendelssohn nahmen 3.2.1 Friedrich Daniel Ernst Schleiermacher (1768-1834) 3.2.2 Julius Schubring (1806-1889) 3.3 Die Zusammenarbeit mit Schubring 3.3.1 Theologische Erwägungen zu zwei werkgenetischen Aspekten 3.3.1.1 Die Choralfrage 3.3.1.2 Die biblische Grundlage 3.3.2 Erfahrungen mit dem Pietismus 1830 3.3.3 Erfahrungen mit dem Pietismus 1834 3.4 Theologische Dimensionen des Librettos 3.4.1 Die Theologie Schleiermachers im Paulus 3.4.1.1 Vergleich mit einer Predigt Schleiermachers vom 19.08.1810 4.4.1.2 Zwei weitere Aspekte 3.4.2 Schlussfolgerungen aus der Verwendung der Choräle 3.4.3 Schlussfolgerungen aus der Auswahl der biblischen Textgrundlage 4. Diskussion der Ergebnisse unter Einbezug des Elias und Christus 5. Quellenverzeichnis 5.1 Notenausgabe 5.2 Primärliteratur 5.3 Sekundärliteratur 5.3.1 Monografien 5.3.2 Beiträge aus Sammelbänden und Periodika 6. Selbstständigkeitserklärung

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Dès les débuts du christianisme, l’Église s’est servie de l’art. Au Moyen âge, en particulier, la décoration des cathédrales (sculptures, fresques vitraux) avait une valeur esthétique, mais plus encore, une valeur didactique. Moyens matériels pour faire la catéchèse, voire évangéliser, les crèches du Musée de l’Oratoire Saint-Joseph du Mont-Royal s’inscrivent dans cette perspective. Tenant compte de cette mission d’évangélisation qui incombe à l’Église et de l’importance que prend de plus en plus le visuel dans la culture et la société actuelles, nous voulons partir de l’exposition des crèches de Noël à l’Oratoire Saint-Joseph, de l’année 2009, pour découvrir en quoi elle pourrait contribuer à l’évangélisation et à la croissance du christianisme et des chrétiens. En effet, les crèches de Noël sont essentiellement œuvre de foi, – non pas liée à la foi de l’auteur mais plutôt à l’effet que cette oeuvre peut avoir sur celui qui la regarde, – dont la dévotion à la sainte Famille. Ce moyen d’évangélisation dans ce monde en mutation où l’art visuel s’est avéré d’une extrême importance convient bien au contexte de la déchristianisation et peut offrir une complémentarité aux méthodes traditionnelles d’évangélisation basées surtout sur le discours. Ils sont complémentaires, dans le sens où il ne s’agit pas de « cheminer à travers villes et villages, prêchant et annonçant la Bonne Nouvelle du Royaume de Dieu » (Lc 8,1) aux personnes qui n’ont pas encore entendu parler du Christ, mais d’éveiller la curiosité chez les visiteurs non-chrétiens (Evangelii Nuntiandi 53), de stimuler l’intérêt à l’égard de la religion chez les non-pratiquants (EN 56) et, de soutenir et approfondir la foi des fidèles. Mots-clés : Christianisme – Église – transmission – évangélisation – éducation de la foi – musée – crèches – Oratoire Saint-Joseph. / Throughout the ages, the Church has employed the arts. In the middle ages, in particular, the adornments of cathedrals (sculptures, frescoes, stained-glass) were prized not only for their aesthetic appeal but also for their didactic potential—concrete techniques for catechizing and evangelizing. The nativity scenes mounted in the Museum of Saint Joseph's Oratory of Mount Royal can be viewed from this perspective. Taking into consideration this mission of evangelization incumbent on the Church, along side the emphasis on the visual in present-day culture and society, we intend to take as a starting point the exhibit of creches during the Christmas season 2009 at the Oratory to see how they might contribute to the effort at evangelization and to the enrichment of Christianity and Christians. In the final analysis, the nativity scene is essentially a work of faith, (not only as regards the faith of the artist but also the faith-experience of the person who looks at it) under the category of a devotion to the Holy Family. In world of change, where the visual arts are considered crucial, this method of evangelization is well-suited to the context of de-Christianization and may be considered as complementary to the traditional methods of evangelization based on speech. They are complementary not in the sense of “going from town to town, preaching and announcing the Good News of the Kingdom of God” (Luke 8, 1) to those who have never heard of Christ, but in the sense of stimulating the curiosity of non-Christian viewers, rekindling the interest of those who no longer practice, and supporting and deepening the faith of the devoted. Keywords: Christianity – Church – transmission – evangelization – education in the faith – museum – nativity scenes – Saint Joseph’s Oratory.

This rhetorical thesis analyzes Richard M. Weaver's theories of rhetoric and his methodology for ranking argument types according to their perceived ethicality. Two keynote speeches by former U. S. Representative Barbara Jordan have been subjected to the Weaverian analysis. Ms. Jordan's argument types are characteristic of what Weaver considered ethical oratory. Weaver's axiological judgments and his dogmatic ranking of the hierarchy have generated some criticism from rhetorical scholars. Although this criticism is justified, Weaver's philosophy and methodology provide insight to a given's orator's philosophical perspective. The Weaverian analysis contributes to the understanding of not only the superficial aspects of an address, but also the underlying and sometimes hidden motivations of an orator.