The research focuses on solutions to problems experienced in distinguishing between tragedy and pathos. The tragic is always characterised by emotions, and 'narrative can only be regarded as tragic through its tragic theme' (Steiner, 1961:16). Aristotle was the first to define tragedy he regards dramas/narratives as tragic if the protagonists die at the end, and the emotions of pity and fear are aroused. The tragedies Aristotle refers to all display emotional intensity, but are quite dissimilar. In some, the central emotions are evoked by the death of the protagonist, but in others there are events that are more intensely emotive than the death itself. In this study, the researcher provides an in-depth definition of the key concept 'tragedy', the different tragic emotions experienced and related concepts. Phatudi'sTladi wa Dikgati (1958) and Rammala's Lukas Mot helet hele (1963) prove clearly that there are two different types of tragedies, one of which contains pathos and the other contains tragedy. The research emphasises that these Sepedi narratives contain tragedy rather than mere pathos. The focus of this study is Sepedi tragic narratives, which have not previously been investigated in depth (Mohatlane, 2002:17). Only M.L. Bopape, P.M. Makgamatha and P.S.M. Mokgobu concentrated on tragic narratives, and P.M. Kgatla and P.S. Groenewald commented briefly on tragic narratives. The adopted narratological model employed in this research focuses plot and language usage, which are only briefly touched on in this research, as they have already been dealt with by prior theorists whose explanations of these narrative levels assist in understading the arrangement of the plot in tragic narratives. The research methodologies employed in analysing the structure of Sepedi tragic narratives/pathos to distinguish tragedy from pathos are descriptive, discussive and comperative. The researcher found few narratives containing pathos and tragedy in African languages, especially in Sepedi. The discussion of tragedy focuses on an analysis of the foundations, description, types and main characters (protagonists) of tragedy. Sepedi tragic narratives and pathos were influenced by Western culture; for example, Serudu's drama aka la peloga le tlale (1990) and G.H. Frans's Maaberone (1940) were influenced by Shakespeare's Romeo and Juliet. In this study, pathos is defined as related to societal sympathy. Holman (1936:166) explains that the 'emotional events in pathos affect the main character, his/her family and relatives, and they are left alone in those miseries and are expected to solve those problems without help from society'. In texts containing pathos, the main character is neither a villain nor a model of perfection, but basically good and decent. Even though the protagonist is great, he dies, but not because of moral blindness or error. He receives empathy because of his good character. The research concludes that in a text containing pathos, the protagonist is portrayed as simple and perfect. The events are so tragic that they induce pity and fear, more than death itself. Concerning tragic narratives, the investigation focuses on narratives of morality and ethics. Groenewald (1993:37) lists seven types of moral narratives, including tragedy and pathos. The two books that were the focus for this study were Rammala's Lukas Mot helet hele and Phatudi's Tladi wa Dikgati. The discussion of Lukas Mot helet hele focuses on the concepts of the (a) topic, (b) characters, (c) protagonists/antagonists as the most distinctive elements in tragic narratives and pathos. Authors organise their work in line with themes, which also control the main ideas and supporting ideas of the plot from beginning to end, and the protagonist, who dies at the end. This character is a great person who dies because of flaws (pride, jealousy and failure to take advice from others). The mistake is not easily recognised, it is hidden; it arouses emotions of pity and fear in the spectators. The analysis of Lukas Mot helet hele looks at (a) love, (b) segregation and hatred, (c) the hooliganism of Lukas Junior, (d) the emotional pain of the wife of Lukas (senior), and (e) the character Albi. The literary style (writing techniques) is analysed. Phala (1999:78) describes technique as 'the elements of writing and other concerns of the development of the plot, message and narrative' which are noted after the theme/message. Phatudi's novella Tladi wa Dikgati is analysed focusing on the protagonists and events that make it a tragic novella. The summary exposes the theme, characters, events, and place. The emphasis is on characters and events as central to tragic narrative. Analysis of Tladi wa Dikgati focuses on the theme, techniques, plot and writing style. The arrangement of events depends on the aim of the author and his objectives. It was found that this type of narrative reveals the emotions of fear, and depicts tragedy, and that the protagonist arouses pain or pity in the reader through attraction and suspense as the main techniques. Events are arranged and language is used to evoke a sense of tragedy and pity. / Thesis (DLitt)--University of Pretoria, 2016. / African Languages / DLitt / Unrestricted

La Phénoménologie de la vie de Michel Henry est-elle porteuse d’une éthique et, si tel est le cas, quelles sont les coordonnées principales de celle-ci ? C’est cette double question que se propose d’étudier la recherche menée ici. Alors que les textes que M. Henry consacre explicitement à l’éthique sont peu nombreux, il apparaît cependant que la distinction barbarie/culture représente le fil conducteur d’une critique qui ne peut être considérée comme axiologiquement neutre. L’analyse de la continuité de cette distinction dans le corpus de la Phénoménologie de la vie permet ainsi de clarifier le sens que pourrait prendre une « éthique de la culture ». Ce sens est intimement lié à la compréhension de la vie comme affectivité immanente et transcendantale. L’éthique de M. Henry peut alors se caractériser comme une éthique de l’affectivité dont l’enjeu se situe dans une possible reconnaissance de la vie. La question est cependant aussi de savoir dans quelle mesure un discours éthique peut non seulement être tenu sur ce qui, en raison de son immanence, échappe par principe à l’intentionnalité, mais peut également posséder une effectivité pratique à son égard. La discursivité éthique peut alors être pensée comme articulation de la theoria à la praxis, notamment à travers les concepts de quasi-performativité et de traduction. C’est finalement l’ensemble du texte de la Phénoménologie de la vie qui se révèle dans sa dimension éthique, dimension qu’il est également possible de mettre en perspective dans le champ du politique. / Does Michel Henry’s Phenomenology of life contain specific ethics and, in that case, what is their nature? The aim of this research is to bring an answer to this question. Although M. Henry has written only a small number of texts referring specifically to ethics, it nonetheless appears that his distinction between barbarism and culture provides a critique that cannot be considered axiologically neutral. Analyzing the continuity of that distinction throughout the body of Phenomenology of life clears the path to an understanding of the meaning that an “ethics of culture” could have. This meaning is directly linked to an understanding of life as immanent and transcendental affectivity. M. Henry’s ethics can thereby be characterized as the ethics of affectivity, the central stake of which lies in the recognition of life. However, the question is to what extent an ethical discourse can be held on a reality that, being immanent, is principally inaccessible for intentionality and how such discourse can have practical effectiveness with regard to that reality. Ethical discursivity may then be understood as articulating theoria and praxis, especially through the concepts of quasi-performativity and translation. Finally, the whole text of the Phenomenology of life appears in its ethical dimension, a dimension which can equally be put in perspective with the field of politics.

melodram

There is a widespread conception that myths are false and manipulative which is why man must strive to move away from them. Simultaneously they affect our social lives to a high degree, especially political myths. With a starting point of the science of rhetoric needing to complement its understanding of how social meaning is produced, this essay will attempt to develop a theoretical understanding of how political myths functions and produce social meaning. The questions that guide the investigation are how the concept of myth is understood in other scientific contexts, which functions myth fulfills and in which way the concept of myth can supplement the science of rhetoric. The investigation is based on Roland Barthes’, Kenneth Burke’s and Ernst Cassirer’s perspective on political myth. The study concludes that myth often functions to oversimplify diversity to sustain the prevailing political order or to overthrow it. Furthermore, it shows that myth can be understood as a way for man to express emotion and that these myths can be activated by the utterance of a word or sentence. Based on this notion, I argue that one should view myth as a function rather than a definition. I further claim the importance of understanding that mythical expression cannot be met by ‘rational’ or ‘logical’ arguments. I rather propose that rhetorical myth analysis ought to be combined with theories of language’s ethical dimension to be interpreted in an accurate manner.

Denna studie kommer behandla casinoreklam som har sänts på svensk tv. Studien kommer att undersöka hur Mobilbet och Unibet använder sig av retoriska verktyg i sina reklamfilmer genom övertygelse argumenten: ethos, pathos och logos. Fyra stycken reklamfilmer kommer att analyseras, varav två är fällda hos Reklamombudsmannen och de resterande har sänts på tv under hösten 2016.Studien kommer först att introducera relevant bakgrundsinformation om tv-reklam, retorik, ICC:s regelverk samt marknadsföringslagen. Analysen utgår metodologiskt från retorikanalysens sexstegsmodell av Karlberg och Mral för att på så sätt kunna bryta ner reklamfilmernas kontext i mindre delar och genomföra en sammanställning och en övergripande analys. Modellen utgår från sex steg och med hjälp utifrån dessa steg samt tillhörande frågeställningar har en retorisk analys genomförts av reklamfilmerna. Studien har visat att både Mobilbet och Unibet använder sig av ethos-, pathos- och logosargument i sina reklamfilmer. De logiska argument som används i Mobilbets och Unibets reklamfilmer från 2013/2014 brister och har inte tillräckligt med stödargument. Unibet är det företag som tydligast visat på en förändring i användandet av retoriska verktyg efter en fällning hos Reklamombudsmannen. Detta genom att stärka sina logosargument med fler stödargument i reklamen från hösten 2016. / This study is researching gambling-commercials that aired on Swedish television channels, and examines how Mobilbet and Unibet uses rhetorical tools in their tv commercials with the form of beliefs by arguments: ethos, pathos and logos. Four commercials were investigated, two of which that were condemned by the Advertising Union representative and the remaining two have been broadcast on television in the fall of 2016. The study will introduce relevant background information about tv commercials, rhetoric, regulations within the ICC and Marketing Practises Act. The analysis is based methodologically from the rhetoric analysis six-step model of Karlberg and Mral in order to be able to break down the tv commercials context into smaller parts, and undertake a comprehensive compilation and analysis. The model is based on the six stages and with the help from these steps and related issues, it was helpful for the rhetorical analysis in order for it to be able to carry on and research the selected commercials. The study has shown that both Mobilbet and Unibet use ethos-, pathos- and logoargument to convince through their advertising. The logo argument Mobilbet and Unibet used in their commercials from 2013/2014 do not have enough of support arguments. Unibet has been the company that has demonstrated the clear changes in their use of rhetoric tools in the tv commercials from autumn 2016 in their way of convince, because they have tried to strengthen their logo arguments with more supporting arguments.

Made available in DSpace on 2016-04-28T19:33:46Z (GMT). No. of bitstreams: 1 Carlos Alessandro de Mesquita Goncalves.pdf: 20709590 bytes, checksum: bcb82e5a2d6a451470788e6d4d209587 (MD5) Previous issue date: 2014-03-12 / The objective of this dissertation is to scrutinize the argumentative construction used by the journalists responsible for the reviews published in Chart CDs of the Brazilian version of Rolling Stone. The magazine was created in the United States in the 1960s and it became one of the most prestigious musical segment in the world. The corpus of this study are aired over 2010 texts. Twenty reviews were selected because of their different lines of argument articulated in positive and negative assessments through stylistic and semantic nuances that reveal the personality of the authors who have been selected. They were examined under the light of Classical Rhetoric (Aristotle) and the New Rhetoric (Perelman & Tyteca). Some concepts of the Theory of Argumentation in Language (Ducrot) were adopted as theoretical support. The relationship between logos and pathos is the main category of analysis of this survey, whose interpretive methodology is based on quantitative to qualitative reviews of research material and results data. The first relevant finding is the fact that journalists have a good knowledge of the target of the publication, once the speech is proper to the audience, giving the prior agreement and revealing the reader profile. Although apodictic, dialectical and discursive reasoning fallacious mixed up all the time, there is a predominance of the first of these three. In relation to gender, we note a preponderance of epideictic, though the judiciary is quite used. Among the most frequent types of arguments are the ones based on the structure of the real and the underlying structure of reality. About the figures of speech, metaphor has a huge use. Comparisons and analogies also appear with intensity in part of the corpus. It is also essential to the realization that the journalistic review, which guides the reader with information and reviews on the latest music, breaks with the canonical structure of the academic review. The order of the overall plan of the genre is not respected in any text. With the exception of the technical file and the signature of the journalist, always at the beginning and end, respectively, the other constituent parts of the review are ordered without obeying any provision / O objetivo desta dissertação é verificar a construção argumentativa empregada pelos jornalistas responsáveis pelas resenhas publicadas no Guia de CDs da versão brasileira da Rolling Stone, revista criada nos Estados Unidos nos anos 1960 que se tornou uma das mais prestigiadas do segmento musical no mundo. O corpus deste estudo são textos veiculados ao longo de 2010. Foram selecionadas 20 resenhas em razão de suas diferentes linhas de argumentação, articuladas em apreciações positivas e negativas por meio de nuanças lexicais, estilísticas e semânticas que revelam a personalidade de seus autores. Elas foram examinadas sob a luz da retórica clássica (Aristóteles) e da nova retórica (Perelman & Tyteca). Alguns conceitos da Teoria da Argumentação na Língua (Ducrot) complementaram o suporte teórico. A relação entre o logos e o pathos é a principal categoria de análise deste levantamento, cuja metodologia é interpretativista com base em dados quantitativos para avaliações qualitativas do material pesquisado e dos resultados obtidos. A primeira constatação relevante é o fato de os jornalistas possuírem um bom conhecimento acerca do auditório da publicação, uma vez que a linguagem demonstra adequação à plateia, atendendo ao acordo prévio e revelando o perfil do leitor. Embora os raciocínios discursivos apodítico, dialético e falacioso misturem-se o tempo todo, verifica-se uma predominância do primeiro. Em relação aos gêneros, nota-se uma preponderância do epidíctico, apesar de o judiciário ser bastante utilizado. Entre os tipos de argumentos mais recorrentes, estão os baseados na estrutura do real e os que fundamentam a estrutura do real. Das figuras de retórica, a metáfora é a mais usada. As comparações e as analogias também aparecem com intensidade em parte do corpus. É essencial ainda a constatação de que a resenha jornalística, cuja função é orientar o leitor com informações e opiniões sobre os lançamentos musicais, rompe com a estrutura canônica da resenha acadêmica. A ordem do plano global do gênero não é respeitada em nenhum texto. Com exceção da ficha técnica e da assinatura do jornalista, sempre no início e no fim, respectivamente, as demais partes constituintes da resenha são ordenadas sem obedecer a qualquer disposição

Este trabalho tem como objetivo verificar o funcionamento argumentativo do éthos do orador num processo judicial, avaliando de que modo confere credibilidade ao discurso, especialmente o jurídico, contribuindo para sua eficácia. Segundo Aristóteles, o caráter do orador o éthos, é uma das três provas utilizadas para a obtenção da persuasão; as outras são o lógos o discurso, pelo que ele demonstra ou parece demonstrar e o pathos, as paixões suscitadas no ouvinte. Ainda segundo a retórica aristotélica, as qualidades éticas necessárias para a obtenção da persuasão e eficácia discursivas são a prudência (phrónesis), a virtude (areté) e a benevolência (eúnoia). São essas, pois, as características que se busca reconhecer nas peças dos autos. O discurso constrói ainda o tom de voz e a corporalidade identificadoras do sujeito da enunciação enunciador/enunciatário que, neste trabalho, também é tratado como orador. Destaque-se no entanto que, ao reconhecer o éthos do orador nos discursos de um processo judicial, esta pesquisa não define o ser ontológico, a que o texto não dá acesso, tãosomente chega à imagem do autor construída no texto. Além da antiga retórica, fundamentam o trabalho as teorias da argumentação recentes e a semiótica da Escola de Paris. Na análise ressalta-se a importância das paixões, base para a adesão entre o éthos do enunciador e o pathos do enunciatário: os simulacros sobre os quais se baseiam levam ao reconhecimento da solidariedade e benevolência do orador a eúnoia, a partir dos objetos de valor assumidos. Primeiramente, apresenta-se o processo judicial completo a partir da intensidade passional de cada uma das peças, reconhecida por meio de recursos definidos na própria pesquisa, aliando categorias da retórica e da semiótica greimasiana. A partir daí, visualiza-se num gráfico a modulação patêmica nos autos, base para reflexões a respeito do andamento e ritmo processual. A seguir, selecionam-se novas totalidades de análise, a fim de reconhecer nelas a phrónesis e a areté, as outras duas características éticas capazes de tornar o discurso confiável. É a partir do conjunto das três características que se delineam o éthos do advogado de defesa, o éthos do promotor e, finalmente, o éthos do magistrado. Enfim, apresenta-se um balanço acerca da eficácia persuasiva daqueles éthe definidos anteriormente e completa-se o trabalho com reflexões acerca da relação entre éthos, ideologia e sentido para o próprio Direito, com apoio na análise realizada. Nas considerações finais, destaca-se a importância de cada uma das características na obtenção da persuasão e do convencimento; a necessidade da demonstração de sabedoria e discernimento no discurso jurídico, mas a interdependência das três qualidades para que o discurso seja persuasivo e eficaz. Concluindo: a pesquisa propicia uma metodologia própria para a análise da argumentação, servindo a uma compreensão maior do processo argumentativo, do próprio Direito e da sociedade brasileira; além disso, oferece possíveis aplicações no ensino. / The aim of this work is to verify the way orators éthos operates to persuade through the discourse, specially the juridical one, and also to evaluate its contribution to discourse credibility and efficacy. The orators character éthos is one of the discursive proofs, according to Aristotle; the others are pathos, the passions the orator raises the audience; and logos, the speech itself, considered as proving a truth or an apparent truth, by means of the persuasive arguments suitable to the case in question. Aristotles rhetoric also affirms that the orators éthos must demonstrate three qualities to persuade discursively the auditors: phrónesis sound sense or practical wisdom; areté high moral character; and eúnoia good will and benevolence towards the audience. Therefore, these are the orators characteristics searched in the Law processes analyzed. Simultaneously, the analysis looks for the tone and corporality built in the discourse, as they also identify the subject of enunciation enunciator / enunciatee, in this thesis also named orator. The research doesnt define, nevertheless, the ontological being, just the image built by the author in the text. The theories used are ancient rhetoric as well as the recent theories of argumentation and semiotics of the Paris School. The analysis emphasizes the importance of passions, as a manner to identify éthos enunciator to pathos enunciatee; both simulacra built points to good will and benevolence the eúnoia, as they are based upon recognized images and shared values. First of all, the work presents the complete law processes, verifying the passion intensity involved in each of the texts, recognized by means of the definitions presented in this work, which gathered rhetoric and semiotics categories. These grades are visualized in a graphics through which meanings are then raised and commented. Based on the research, the work chooses new analysis totalities to search how the orator demonstrates phrónesis and areté, the two other characteristics the orator demonstrates that add credibility to his discourse. Then, with these three qualities, its possible to define the defense attorneys éthos, the prosecutors éthos and even the judges éthos. Finally, the research examines the persuasive efficacy of each quality, relates éthos, ideology and the meaning of rights and law in our society, based on the analysis presented. At last, in the final considerations, the importance of each characteristic, mainly sound sense or practical wisdom phrónesis, is pointed out; the need to demonstrate wisdom and sound judgement, but their interdependence to persuade and provoke effectiveness through the discourse. This work offers a unique methodology for the understanding of argumentative processes, rights and law, and even of the Brazilian society; furthermore, it offers possibilities to be applied for teaching purposes.

Este trabalho pretende compreender a Heteronímia em chave retórico-poética, sobretudo no que ela se liga às concepções de ethos e pathos. Com isso, estabelecerá as relações de Fernando Pessoa com o mundo Antigo e a tradição que a ele se segue no que tange às questões do fingimento. O conceito de subjetividade ajudará a compor o contexto pessoano e, por conseguinte, ajudará na interpretação das mudanças que o sujeito comportou desde a Antiguidade até os dias do poeta português. A figura de linguagem chamada de etopeia é questão fundamental desta tese que se propõe a mostrar que a heteronímia é essa figura / This work\'s aim is to understand the Heteronomy in rhetorical-poetic key, especially in what it connects to the concepts of ethos and pathos. With this, it will establish the relationships of Fernando Pessoa and the Ancient World, and the tradition that comes after him in regard to the issues of pretense. The concept of subjectivity will help to select Pessoa\'s context and thus help in the interpretation of the changes that the subject kept since Antiquity until the days of the Portuguese poet. The figure of speech called etopeia is a fundamental matter in this thesis, which aims to show that heteronomy is such figure

Thesis--Tübingen. / Bibliography: p. [175]-178. Also issued online.

Thesis--Tübingen. / Bibliography: p. [175]-178.