Eloquence

The Introduction presents the argument that aesthetic judgment in classical Arabic literary theory came to depend on the ability of poetry or eloquent speech to produce an experience of wonder in the listener. This experience of wonder is not merely a reaction of amazement and bedazzlement, but it also entails a process of discovery. After presenting an account of the nature of classical Arabic literary theory, its various approaches to literary assessment, its topics and historical development, the Introduction highlights that the main aspects of literary expression Arabic criticism was concerned with lay in rhetorical figures (badīʿ), simile (tashbīh), figurative speech (majāz), metaphor (istiʿāra), metonymy (kināya), and sentence construction (naẓm). It is in these aspects of linguistic expression that an aesthetic theory of wonder can be uncovered in the classical Arabic critical tradition, including in discussions of poetry proper, engagements with Aristotelian Poetics, and works on eloquence and the miraculousness (iʿjāz) of the Quran, culminating by the thirteenth century in the formalized study of eloquence in ʿilm al-balāgha (the science of eloquence).

La relation entre l'éthique et la rhétorique, largement débattue par les philosophes et les rhétoriciens de l'Antiquité classique, est aussi l'un des thèmes principaux de la littérature égyptienne antique, particulièrement dans les fictions narratives dans lesquelles les pouvoirs du discours sont souvent mis en scène. Dans plusieurs œuvres littéraires du Moyen et du Nouvel Empire, la confrontation d'un personnage éloquent avec une situation nécessitant un jugement ou une appréciation morale pose le problème des possibles déviances que l'art du discours peut faire subir aux valeurs de la vérité-justice, la Maât. Par l'analyse d'œuvres telles que le Conte du Paysan éloquent ou le Conte de Vérité et Mensonge, une évolution peut être mise en évidence dans l'appréciation faite de la duplicité de la rhétorique : tandis que la littérature du Moyen Empire offre l'alternative d'une éloquence régulée par une norme qui lui soit propre, l'art du discours est présenté, au Nouvel Empire, comme totalement indépendant des valeurs qu'il véhicule. De manière générale, l'image littéraire de la rhétorique présentée par les auteurs égyptiens illustre leur conscience aiguë de la complexité des relations entre le discours et le réel.

The Arabic language has a rich history of literary criticism and theory, starting from the 8th century CE up to the 21st century. This literary criticism and theory engages with a poetic tradition that dates back to pre-Islamic times. The inquiry into literary quality was motivated by an interest in evaluating poetry, a general concern with eloquent speech, whether in verse or prose, and by the desire to articulate the beauty of the Quran. The transmission of Aristotle s Poetics into Arabic also spurred interest in the poetic, particularly in Arabic philosophy. The study of eloquence crystallized into a standardized science by the 13th century CE, with branches focusing on (1) the role of syntax in literary beauty (the science of meanings); (2) simile, metaphor, and metonymy (the science of elucidation); and (3) rhetorical figures (the science of rhetorical figures). The aesthetic developed in the early criticism of the 9th and 10th centuries was concerned with articulating the merits of an idealized classical style of pre-Islamic poetry, from which the modern poets of the early Abbasid period diverged. This classically oriented aesthetic was dominated by a concern with the truthfulness and naturalness of poetry, typical of the style of the ancients, on the one hand, and the limits of unrealistic imagery and affected artificiality, which characterized the more ornate modern Abbasid style, on the other. This binary outlook shifted after the 10th century, however, to an aesthetic of wonder. A theory of aesthetic experience began to develop, therefore, which was based on the ability of poetic language to evoke wonder in the recipient. As a result, wonder-enhancing characteristics such as strangeness, the unexpected, and the rare became essential components of aesthetic judgment. Moreover, the ability of language to make meaning manifest in ways that allow for an experience of discovery and hence wonder, became the foundation of aesthetic inquiry in post-10th century Arabic literary theory.

This article argues that Kant's attack on the ars oratoria in §53 of the Critique of the Power of Judgment is directed against eighteenth-century school rhetoric, in particular against the "art of speech" (Redekunst) of Johann Christoph Gottsched. It is pointed out that Kant suggests a revision of Gottsched's conception of "true eloquence," which was the predominant rhetorical ideal at the time. On this basis, and in response to recent discussions on "Kantian rhetoric," Kant's own ideal of speech is addressed. It emerges that he favors a culture of speech embedded in moral cultivation, which excludes any disciplinary form of rhetoric.

The Judicial Reform of 1864 was a turning point in the life of Russian society. It introduced the system of jury courts and established the profession of an attorney. First forensic orators were heavily influenced by Russian literary real- ism with its psychologism, representation of personality in its development, and description of milieu (environment). In this article, we analyse F. Dostoevsky’s views on forensic oratory and system of jury courts. Mikhail Bakhtin in his work Problems of Dostoevsky’s Poetics introduced the idea of polyphony, which he perceived as the highest expression of dialogism. But, as our analysis shows, dialogue in Dostoevsky’s novels turns to be the duality: voices of his characters are the product of author’s monological idea, and they respond to author’s inner speech. Social dialogue in Dostoevsky’s novels is substituted by inner speech, which leaves no place for an independent interlocutor, who has free will and his own psychological experience. In the context of Soviet culture, Dostoevsky’s texts were, undoubtedly, dialogical. But in the context of Russia of the second half of the 19th century, his views on the judicial system, his negative attitude to social dialogue and judicial polemics were destructive to the Russian democratic institutions.

L’Affaire est la suivante : tout commence par une « catastrophe de la fortune », ou plutôt une avalanche de « catastrophes de la fortune ». C’est le beau nom que Lamartine donne aux terribles déboires financiers qui l’étranglent et, au début de l’année 1856, l’étau se resserre, il faut, il faut trouver de l’argent, coûte que coûte, pour éviter la faillite publique. « Cherchez des scribes. Ne perdez pas une heure. Cela doit se faire à un sou la lettre au plus. Vite, à l’œuvre, et réponse. Il faut le faire à peu près confidentiellement . »  De quoi s’agit-il ? D’une entreprise éditoriale d’ordre peu commun : une publication périodique dont Lamartine sera « l’unique rédacteur » et qui doit paraître une fois par mois, à partir de mars 1856 .

Le modèle éducatif dominant dans la société égyptienne dès l'Ancien Empire est celui de la cour, qui définit pour les couches sociales inférieures un idéal d’éducation que véhicule notamment l’institution scolaire. À partir des travaux de Norbert Élias, il est possible de mieux définir certains mécanismes sociologiques de la «société de cour» égyptienne au Moyen Empire et d’évaluer également comment l’idéal de cour se transmet à travers des manuels de savoir-vivre et de «sagesse» qui se codifient au moment de la recomposition de la monarchie pharaonique.

The article aims to answer the claim that Iranian vocal music i.e., Iranian music connected to Persian poetry, is limited and sad. It employs aesthetic and pragmatic criticism to study several songs and compositions and proves that Iranian vocal music is the same as vocal music in other countries of the world, in that it can be sad or joyful and that it can be limited or expanded. Moreover, analyzing the samples, the article demonstrates that the sadness or happiness of the lyrics and the singing and, likewise, the type of rhythm and meter affect the gloominess or joyfulness of sheet music. Furthermore, it indicates that this effect is not specific to Iranian vocal music. Finally, even the most woeful pieces of Iranian music, for instance, “Dashti” and “Bayat-e Esfahan,” despite their similarity to minor scale western music, are of exceptional capacity so that they can accompany epic songs and the most joyful ballads.

Forme lyrique de circonstance, le toast a connu une grande fécondité au cours du XIXe siècle, une fécondité partisane, collective, à visée démocratique ou en support de propagande. Quand les temps démocratiques s’interrompent en 1851, la forme-toast se métamorphose en poème. Peut-être alors, conserve-t-elle en son lieu des traces de sa pratique mondaine et militante révolue comme medium de fraternité, hypothèse qui suppose de relire les toasts de Mallarmé et Verlaine, les variations autour des chansons à boire de Baudelaire, en les inscrivant dans une nouvelle filiation, celle du Chant des ouvriers de Pierre Dupont ou encore du « Toast à la Révolution » écrit par Proudhon à la suite de la révolution de 1848.

Abstract
As an occasional lyrical form, the toast proved itself very productive throughout the 19th century, with a partisan, collective productivity usually aiming for democracy or supporting some form of propaganda. When 1851 put a stop to democracy, the toast took on the shape of a poem. Does it not from then on maintain at times traces of the worldly and militant practices it used to have ? Such a hypothesis requires re-reading Mallarmé’s and Verlaine’s toasts, and Baudelaire’s variations on drinking songs, as heirs to a new ancestry, that of Pierre Dupont’s Chant des ouvriers or of Proudhon’s « Toast to the Revolution », written in the aftermath of the 1848 revolution.


Pour citer cet article :
Dominique Dupart, « Le Toast lyrique. Fraternités du toast à la fin du XIXe siècle », Romantisme N°186 (4/2019), pp. 99-109, Armand Colin. Disponible sur : https://www.revues.armand-colin.com/lettres-langues/romantisme/romantisme-ndeg186-42019/toast-lyrique-fraternites-du-toast-fin-du-xixe-siecle

The analysis of the numerous narratives dedicated to the feminine embassy sent to Coriolan shows what makes the specific efficiency of the “matronal speech”. These narratives, written in Greek or in Latin, fit into a tradition and resort to diverse models to show the specificity of the feminine speech acts ; these models may be literary ones or they can be inspired by existing social practices. In the Livian version, the persuasive strength of Veturia’s speech (oratio), the mother of Coriolan, leans on the visual dimension of the picture she composes with the group of the women in mourning around her. But the poignant effect (movere) of her speech is also stressed by tears and collective lamentations of the matrons, an attitude evoking that of the Roman supplications. The narratives in Greek draw more from the tragic to build the figure of the “mother” and the “supplicant”. But the historic fiction of Coriolanus also resonates with the episode of the Sabine women who, by their words and prayers, knew how to convince their fathers and husbands to sign the peace. The exemplary value of this intervention creates a kind of “tradition of the exception”, which appears characteristic of the feminine action in Roman history.

In Arabic terms of eloquence sentences are divided into two categories; declarative sentences and construction sentences. There are two basic purposes of declarative sentences. Because our word, either provides to benefit the addressee from the person who makes the declarative sentence / mutekellim, of this kind of declarative sentence that called fâide-i haber. Fâide-i haber, means there is the phrase contained in the provision of the benefit to the interlocutor. Or our word is known from interlocutor that he hearing our word from the person who makes the news / mutekellim, of this kind of declarative sentence that is called lâzım-ı fâide. Interlocutor already knows of the declarative sentence given to him from mutekellim in the lâzım-ı fâide. Therefore it is not the benefit in this kind of news. In this case, the benefit of declarative sentence, in other words the aim of telling the declarative sentence in lâzım-ı fâide show to know the declarative sentence of interlocutors.
This thesis consists of introduction, two main sections and a conclusion. In this study, subject necessary benefit / lâzım-ı fâide has been studied in detail by recourse to important rhetoric books and commentaries books of Qur’an from the classical period to the present day. At the entrance some of the general terms of eloquence was investigated. The first chapter related to the theoretical framework of the thesis, in the second chapter the opinions of commentators investigated and examples from the Qur’an in this context. The findings reached are given in the results section. Interlocutor, when he heard a declarative sentence that are knowledgeable about that, from the person who makes the news / mutekellim, he knows that it is familiar with the declarative sentence by mutekellim. Lâzım-ı fâide sentences, it's not news in the true sense, but contains it implicitly. To know the lâzım-ı fâide depends on knowing the fâide-i haber.
Commentators that says “the sentence has been lâzım-ı fâide” in the declarative sentence wherein the Holy Qur’an, another commentator has a different purpose to the phrase according to the context of the verse. For example; condemnation, learning, the removal of the question marks that have formed in the mind, pray for the authority that is directed toward Allah on the declarative sentence, similar to the past make it hard for the provision of, the reason of the meaning of the sentence contained in, the appeal and reproach in a manner closed, reinforce the sentence, to apologize and etc. meanings they mean.

Arapça'da cümle belâgat yönünden haber ve inşâ cümlesi olmak üzere iki kısma ayrılmaktadır. Haber cümlesinin aslî olarak iki gayesi vardır. Çünkü mütekellim muhataba, ya bilinmeyen bir hükmü haber vermektedir ki buna fâide-i haber denilir. Fâide-i haber, ibarenin içerdiği hükmün muhataba fayda sağlaması demektir. Ya da muhataba verilen haberi, mütekellim bildiğini göstermektedir ki buna da lâzım-ı fâide denilir. Lâzım-ı fâidede muhatap, kendisine iletilen haberi önceden bildiğinden dolayı haber kendisine bilgi açısından fayda sağlamaz. Bu durumda haberin faydası yani haberi söyleme amacı, mütekellimin haberi bildiğini göstermesidir.
Kur’ân-ı Kerîm bağlamında lâzım-ı fâidenin önemini ortaya koyan bu çalışmamız; giriş, iki ana bölüm ve sonuçtan oluşmaktadır: Bu çalışmada lâzım-ı fâide konusu; klasik dönemden günümüze kadar önemli belâgat kitapları ve tefsirlerin konuyla ilgili açıklamalarından yararlanılmak suretiyle detaylı bir biçimde incelenmeye çalışılmıştır. Girişte genel belâgat terimlerinden önemli bazıları ele alınmıştır. Birinci bölümde tezle ilgili teorik çerçeve, ikinci bölümde Kur’ân-ı Kerîm’den bu bağlamdaki örnekler ve müfessirlerin görüşleri araştırılmış, ulaşılan bulgulara sonuç bölümünde yer verilmiştir. Muhatap, hakkında bilgi sahibi olduğu bir haberi mütekellimden işittiğinde, mütekellimin haberi  bildiğini bilmekte olduğundan dolayı lâzım-ı fâide cümleleri, hakiki anlamda haber anlamını içermeyip zımnen içermektedir.
Bir müfessirin “lâzım-ı fâide vardır” dediği Kur’ân-ı Kerîm’deki bir haber cümlesine başka bir müfessir âyet-i kerîmenin siyak ve sibakından anladığı manaya göre; kınama, hali öğrenme, zihinde oluşmuş olan soru işaretlerini giderme, Allah (c.c.)’a yönelik olan haberlerde dua makamı, geçmiş hükmü bütün benzerlerine tahakkuk ettirme, cümlenin tazmin ettiği mananın illeti ve ikrarı, ta’rîz / üstü örtülü bir şekilde itiraz ve sitem etme, ikaz kabilinden tekit etme ve özür dileme gibi maksatların olduğunu söyleyebilmiştir.

Au cours de la double décennie 1830-1848, jusqu’à la révolution de 1848 comprise, les harangues et les discours ouvriers sont retranscrits dans la presse, dans les Mémoires, dans les romans, si bien que les lire et les découvrir aujourd’hui implique de prendre en compte les différents filtres de réception qui les construisent en tant que tribune spécifique. Plutôt que de travailler expressément sur les articles de journaux ouvriers en termes de langue et de forme, il est question davantage ici d’une méthodologie de lecture et de la perception sociale et littéraire de ces morceaux de paroles saisis au vif dans la rue, dans les clubs, dans les fabriques, en révolution, en s’attachant à comprendre les liens entretenus entre des questions de forme (les retranscriptions) et les visées de la publication (stratégies médiatiques et porte-parole démocratique et lyrique). À cette fin, les harangues ouvrières sont lues au regard du point de vue lettré et érudit qui s’en est emparé (Hugo, Flaubert, Balzac, Lamartine, Marx) en même temps qu’elles sont analysées en confrontation avec l’éloquence officielle dans la grande Presse, à la Chambre, éloquence officielle qu’elles soumettent à une critique sociale en acte, comme une sociologie militante de la parole. Un corpus de textes caractéristiques du corpus rassemblé accompagne l’article.
Dominique Dupart, « Éloquences ouvrières, 1830-1848 », Fabula / Les colloques, 1848 et la littérature, URL : http://www.fabula.org/colloques/document7002.php, page consultée le 16 juin 2021.

Nombreux, parmi les auteurs que la postérité allait considérer comme grands écrivains et philosophes, furent ceux qui prirent position sur cette révolution, conscients tous que se jouait là non seulement un événement majeur de l’histoire nationale, mais aussi une entrée dans l’histoire moderne. Ce livre vise à retracer les prises de position différentes de quelques observateurs les plus connus de l'époque : Marie d'Agoult, Balzac, Louis Blanc, Comte, Victor Cousin, Flaubert, Herzen, Hugo, Lamartine, Marx, Michelet, Raspail et Lorenz von Stein.
Dans son opuscule Trois mois au pouvoir, Lamartine se livre au redoutable exercice consistant à diminuer après coup ce qui lui échoit en responsabilité pendant ces journées de Février. Il risque l’analyse de sa contribution oratoire en ce jour fatal pour le régime.
La révolution de 1848 en France a marqué un tournant pour les contemporains qui l'ont vécue.

Edward Castelton et Hervé Touboul (dir.), Regards sur 1848, Cahiers de la MSHE Ledoux, n° 23, série « Archives de l’imaginaire social », n° 1, 2015, 418 p.
ISBN : 978-2-84867-539-8

Sa'adi Shirazi, as one of the greatest Persian poets, was also fluent in Arabic language. Despite his fluency in Arabic, he has few poems in this language; however these few poems show his high position among Iranian poets who composed in Arabic. Metaphor as an important rhetoric figure would be analyzed in Sa’adi’s poems to show how much the manner of metaphor use, both in terms of form or content, is important in his specific poetic language. Since Sa’adi makes frequent use of metaphor in his poetry, the authors, in present article, try to study different types of imagery and metaphor used in his Arabic verses. He had used several types of metaphor, such as absolute, active, complex, compound etc. in his Arabic poems. The form and the quantity of the metaphors had been used in his poems show that he sought to convey meanings rather than showing his abilities in using literary industries.

The lesson of Homer’s Iliad is that eloquence arises out a confrontation with death. Perhaps the most dramatic of these confrontations is the death of Patrocus, an event which elicits epideictic speech by three parties: immortal horses, Xanthos and Balios, an immortal god, Zeus, and a mortal human, Patroclus. However, although the reaction of the horses and of Zeus reflect the pathos and logos of eloquence, respectively, we argue that true eloquence grows out of an experience of a divided self that heroically judges its own life meaningful—thereby constituting ethos through speech—in the face of death.

Isidore of Seville, being out of polemics between rhetoric and philosophy or between “pagan” and Christian wisdom, used the concepts and arguments originated in these “quarrels” to build his own discourse. Thus he somehow summed up the results of them. The article analyzes Isidore’s approach to the eloquence in the light of the problem of using the source material. Two lines of correlation between the notion of eloquence and that of the wisdom are detected. One originates in the opposition of “pagan” and Christian wisdom, the other goes back to rhetoric / philosophy opposition. The first is ascetic developed in Sententiae by using the patristic argumentation against the “pagan” culture and by elaborating the ascetic concept of “speaking well” (bene loquor) concentrated on the matter of speaking not on its form. The second is presented in Differentae 2 and  Etymologiae. In Differentiae 2 Isidore follows to Aulus Gellius and subjects eloquence to wisdom and rhetoric to dialectics. In Etymologiae he uses Quintilian’s concept of rhetoric and connects rhetoric and philosophy.

En vendant des milliers d'exemplaires des Méditations, Lamartine inaugure un lyrisme de masse dont la tribune de la Chambre fut par la suite le relais historique et oratoire.


Jean-Yves Mollier, Philippe Régnier, Alain Vaillant, (dirs), La production de l’immatériel. Théories, représentations et pratiques de la culture au XIXesiècle, Saint-Étienne, Publications de l’Université de Saint-Étienne, coll. Le XIXe siècle en représentation(s), 2008, pp. 351-358.

This paper analyzes Samuel Beckett's Waiting for Godot (1954) and Harold Pinter's The Dumb Waiter (2003) by focusing on their affinities and differences. It is an analytical literary study from a linguistic standpoint using Kenny's (2011) ideas. In addition to focusing on differences, the aim of this study is to scrutinize silence and its different meanings inasmuch as silence is a distinctive feature that groups and differentiates both plays. The study sheds light on a different aspect of research. Hence, besides focusing on interpreting speeches, this paper analyzes silences in both plays. It vindicates that silences are as important in literary interpretation as speeches. While Beckett's silences indicate the void of modern life, Pinter's silences convey threats and violence. Albeit much attention is given to verbal utterances and silences are generally neglected in terms of literary analysis, they are a sine qua non in terms of understanding Beckett's Waiting for Godot and Pinter's The Dumb Waiter and most importantly understanding the different languages of silence that greatly contribute to the whole meaning of both plays. Consequently, silences deserve much attention in literary interpretation as speeches and they are highly eloquent.

Le flou sémantique de la notion d'éloquence traduit chez Vauvenargues une difficulté à concilier la conception d'une vérité transcendante et absolue, préexistante, propre au christianisme et à l'esthétique classique, et celle d'un sujet créateur de ses pensées et de sa parole, pierre de touche de l'esthétique moderne.

L’éloquence démocratique de Juillet n’a refusé à personne le droit de cité à
la tribune. À la Chambre, dans les Conseils régionaux, mais aussi dans les
banquets, dans les sociétés chrétiennes, dans les clubs et dans les rassemblements, le discours politique est prononcé au nom du peuple, traite du peuple et s’adresse au peuple : et quand bien même l’auditoire ne serait pas toujours très populaire. C’est un mouvement généralisé de la parole publique à partir des années1830, dont Flaubert, Balzac, Stendhal, Tocqueville, et bien d’autres, témoignent avec dégoût et fascination : désormais les orateurs démocratiques ont mis leur talent au diapason du goût nouveau pour les choses populaires, triviales, ce qui intéresse la masse, la populace, ceux qui sont stigmatisés au cours des insurrections et des révolutions sous l’étiquette de barbares.
Publication numérique :
http://www.equipe19.univ-paris-diderot.fr/Colloque%20animal/Dominique%20Dupart.pdf

Les études sur le discours politique de Diderot sont encore peu nombreuses et sont surtout partielles, parce qu’elles n’analysent qu’une oeuvre, qu’un sujet ou une période de la vie du philosophe. J’ai l’intention d’offrir ici les résultats de mes recherches sur les discours politiques que Diderot a élaboré tout au long de sa vie.
Je voudrais commencer par envisager le binôme sémantique de R. Koselleck, “Lumières-secrètes”, pour en suggérer une reformulation à la fin de mon analyse. Je montrerai que le silence n’est pas seulement le lieu discursif de la dimension privée et qu’il a des répercussions dans la sphère publique aussi.Ensuite, je présente mon analyse sur les lieux du discours (édité et inédit) où Diderot est silencieux, puis je montre les moyens de lecture des silences. J’explique comment il faut lire les silences et comment les remplir. En réunissant la perspective herméneutique de Koselleck avec celle de W. Iser, j’entends montrer comment le discours édité de Diderot est aussi un lieu du silence que le lecteur ciblé (idéal) doit remplir.Dans un horizon sémantique ouvert, j’introduis également la notion de lecteur posthume qui correspond au “nous”. Dans cette dimension systémique, il y a une nature ouverte des discours que les lecteurs (ciblés et posthumes) rendent politiques par leur acte de lecture. Au moyen des méthodologies de B. Schlieben Lange et de la sémiotique de G. Genette, je vais montrer comment pénétrer dans les discours décousus de Diderot

Средневековые арабские филологи часто обращались к составлению сборников удачных высказываний как свидетельства красоты ясной и емкой речи. Выбранный материал анализировался в разных плоскостях: от лексико-грамматического до эстетического. Известный багдадский теоретик изысканного поведения Мухаммад ибн Ахмад ал-Уашша’ (255/869–325/937) неоднократно советовал в своих трудах «взвешивать каждое слово и отбрасывать лишнее». В данном докладе мы обратимся к двум его трудам  «Китаб ал-Мувашша» и «Китаб ал-фадил фи сифат ал-адаб ал-камил» и рассмотрим приводимые автором  теоретические рекомендации по искусству красноречия и конкретные образцы метких, уместных высказываний.

The vocabulary selection and how to arrange them in the sentence based on syntactic conditions, or escaping from these conditions and forms of imagination can be considered as the most important features of any language. Analyzing the language of each work according to its intrinsic features and reviewing the deviations occur in the range of text can indicate its type. Different types of simile, as one of the most important foundations of eloquence, are effective in the rise of language identity in accordance with its lyrical contents and serves the emotional, literary, and inductive approaches of the language. Also, the vocabulary used in form of tenor, vehicle and simile attribute helps the language of these works being explained. On the other hand, the simile intents and the roles they play to transfer the content are proportional to the type of lyrical themes and are among the factors influence the audience alongside the other coordinates of lyrical language. It has been tried in this study to explain the role of this element of eloquence in five lyric poems with the same subject and to describe one of the characteristics of lyrical language based on achieved common aspects.

HIS BLESSED MEMORY, THE PATRIARCH of Antioch, Ignatios IV was an exceptional figure. He was a charismatic Orthodox leader who radiated the Patriarchal throne of Antioch for many decades (1979-2012) and who gave, through his brilliance, the testimony of the Orthodox faith in the inter –Christian and inter– religious circles, both in the Arab world of the much-troubled Middle East and in the international community. All those who met him up close during the various phases of his long and productive earthly itinerary, converge on common observations regarding his character and personality: he was a leader who was known to be gentle, moderate, simple, well-educated, capable, intelligent, unanimously agreed-upon with regard to his wisdom and for his imposing spiritual prestige. He had a deep faith in Christ and an unshakable commitment to the service of the Church. He was in constant dialogue with his cultural context and he maintained a great vision.

In the Arabic rhetoric, the sentence is divided into two parts; declarative sentences and construction sentences. There are two main purposes of the declarative sentences and fâide-i haber from these main purposes; It means conveying an unknown news to the interlocutor. Lâzım-ı fâide is convey a known news to the addressee. In such news, the person who speaks the word shows that he knows the news he conveyed to the interlocutor and the sentences lâzım-I fâide, are not useful in terms of information. In this study; What the phrases of lâzım-I fâide are examined and examples of the verses that commentators say “there is a lâzım-ı fâide” are given in the Quran. In addition, the opinions of the commentators regarding some sentences reminiscent of the necessity of the Qur'an were examined. Sometimes, in a verse in which a commentator says “There is a lâzım-I fâide for this expression”, another commentator stated that there is a different purpose.

Arap belâgatında cümle, haber ve inşâ olmak üzere iki kısma ayrılmaktadır. Haber cümlesinin iki asli gayesi olup bu iki asli gayeden fâide-i haber, muhataba bilmediği bir haberi iletmek demektir. Lâzım-ı fâide ise; muhataba bildiği bir haberi iletmektir. Bu tür haberlerde mütekellim / sözü söyleyen kimse, muhataba ilettiği haberi bildiğini gösterir ve lâzım-ı fâide olan cümleler muhataba bilgi açısından fayda sağlamaz. Bu çalışmada; lâzım'ı fâidenin ne olduğu incelenmiş, Kur'ân-ı Kerîm'de müfessirlerin "lâzım-ı fâide vardır" dedikleri ayetlerden örnekler verilmiş ve Kur'ân-ı Kerîm'de lâzım-ı fâideyi anımsatan bazı ifadelere dair müfessirlerin görüşleri incelenmiştir. Bazen bir müfessirin "şu ifadede lâzım-ı fâide vardır" dediği bir ayete diğer bir müfessir o cümlede farklı bir gayenin var olduğunu söylemiştir.

J'ai créé une chaîne youtube dédiée à la rhétorique:  https://www.youtube.com/c/VictorFerry

L'objectif est double:

- Montrer comment les concepts rhétorique peuvent être utilisés pour mieux comprendre l'actualité et, en particulier, les discours politiques.
- Permettre aux citoyens de s'approprier les outils rhétoriques pour mettre leurs idées en discours et créer des mouvements autour des causes qui leur tiennent à cœur.

Au plaisir d'en discuter avec vous,

Victor Ferry

عبهرالعاشقین نوشتة شیخ روزبهان بقلی شیرازی مشهور به شیخ شطّاح از عارفان قرن ششم هجری می باشد. موضوع کتاب طریقت مبتنی بر عشق بوده و از برجسته ترین آثار ادبیات عرفانی محسوب می شود.
این مقاله، به بررسی اغراض معانی برای افاده کلمات و جملات، ویژگی های نحوی و نگارشی، بیان، کاربرد صنایع بدیعی و ادبی و مختصات سبک شناسی در عبهرالعاشقین پرداخته است.
براساس یافته های این پژوهش؛ بسامد استفاده از صنایعی همچون سجع و جناس و تتابع اضافات و استفاده از گونه های مختلف صور خیال، اثر وی را به برجسته ترین آثار منثور در ادبیات عرفانی تبدیل کرده است. وفور لغات عربی، وفور صنایع بدیعی و بیانی و موسیقیایی بودن کلام وی به نثر فنی گرایش دارد. اما در کنار استفاده از کلام دشوار، طنطنة عبارات و ضربه های پتک وار جناس و سجع و استفاده تخیّل آمیز از تشبیه و استعارات فشرده، و همچنین استفاده از ترکیبات نو و بی بدیل عاشقانه،سبک نثر وی را به سبک شاعرانه مشهور کرده است. و این پیوندهای لفظی و معنوی جملات، نشان از جهان بینی ویژه روزبهان و شهود وی به معشوق ازلی می باشد.


Research of Secondary purposes Semantics, Eloquence, style and writing of Abharol asheghin

Abstract
Abharol asheghin written by Roozbehan Baghli Shirazi the Famous mystic sixth century AH. The book is based on the principle of love and the most prominent works of mystical literature. This paper explores and research of Secondary purposes Semantics, Eloquence, style, and writing of Abharol asheghin.

Based on the findings in this Research Frequency of industries such as rhyme and puns and additions and the use of different types of imagery, his work has become the most prominent prose works of mystical literature. Arabic word frequency, frequency of imagery and musical expression and technical prose tends to his word.use of difficult words, phrases and rhythmic hammer blows like a pun and rhyme and peaceful use of similes and metaphors compact and imagination the use of new components and unmatched romantic, poetic style of his prose style is known and the literal and spiritual ties sentences, Show the world especially Roozbeh is eternal love.



Keywords:

Roozbehan bagli Shirazi, Stylistics, Semantics, Eloquence, Oratory

As a way of »performing the law«, courtroom
speeches have been a fundamental component of
the legal ritual and a basic component of lawyers’
identities in many countries with civil law traditions:
lawyers have presented themselves and have
been culturally perceived as legal experts who
make use of emotional strategies in order to
achieve their aims in court. Within the courtroom,
emotions have been both rhetorical tools and
goals, especially in criminal trials where forensic
eloquence aimed to create an emotional environment
that was favourable to the client. In France, a
rich literature on the art of forensic rhetoric was
both the result and the basis of a (re-)construction
of a tradition that was extremely self-conscious,
self-reflective and fundamentally emotional. The
present work analyses the role of emotions in
lawyers’ courtroom performances in the French
legal culture from the beginning of the nineteenth
century to the present. Its purpose is to identify the
main themes related to the use of emotions in the
pleading that legal professionals themselves have
considered important – albeit with differing opinions
– in the past three centuries. More broadly,
this study explores reason / dispassion and emotion
in legal practice beyond their longstanding dichotomy.
Investigating the courtroom speech as a
prototypical forensic performance through the perspective
of the legal professionals themselves shows
how reason and emotion have been continually
intertwined and how legal professionals have consciously
strategized approaches to the complex
interplay between them in the judicial processes.
[p. 286–295]
lawyers, courtroom, emotions, rhetoric,
eloquence

Tandis que les dirigeants européens organisent l’après-Brexit et multiplient les échanges, les partisans d’une réponse purement bureaucratique s’affichent en première ligne. Ils proposent de colmater les brèches. La tentation est grande de céder aux sirènes du conformisme, mais le manque de courage politique n’est pas à la mesure de l’Europe ni surtout du moment.