Le bruissement de la langue
01 Jan 1993-
About: The article was published on 1993-01-01 and is currently open access. It has received 183 citation(s) till now.
01 Jan 2011
TL;DR: In this article, a set of examples taken from the History of the Peloponnesian War are presented, which prove the skill of the Athenian historian to make us "see" the events in the mind's eye.
Abstract: In the Greek schools of the Roman Empire, the handbooks of rhetoric (Progymnasmata ) defined ekphrasis as a speech that brings the subject matter vividly before the eyes. These manuals also point to Thucydides as one of the best specialists in this rhetorical technique which consisted, essentially, to give vividness (enargeia ) imagery to the speech as a way to engage the imagination and feelings of the reader. In this article we present a set of examples, taken from the History of the Peloponnesian War , which prove the skill of the Athenian historian to make us "see" the events in the mind's eye. After that and using the opinions of Paul Ricœur around history and fiction (from the normal and healthy coexistence between readability and visibility along with the ethic power of the textual image in situations that cry out applause or disapproval), we will see how this rhetorical and fictional strategy, used by Thucydides and recovered now by Ricoeur for the studio of contemporary historiography, can be reconciled with a discipline that aims at objectivity, impartiality and scientific rigor. RESUMO: Nas escolas gregas do Imperio Romano, os manuais de retorica, designados de Progymnasmata , definiam ekphrasis como um discurso que poe de forma vivida, sob os olhos, determinado assunto. Apontavam, igualmente, Tucidides como um dos maiores especialistas nesta tecnica retorica que consistia, essencialmente, em conferir vividez (enargeia) imagetica ao discurso, como forma de envolver a imaginacao e os sentimentos do leitor. Neste artigo, apresentaremos um conjunto de exemplos, retirados da Historia da Guerra do Peloponeso , que comprovam esse talento do historiador ateniense para nos fazer ver os acontecimentos do passado com os olhos da mente. Depois, recorrendo as reflexoes de Paul Ricœur em torno de historia e ficcao (da normal e saudavel convivencia entre legibilidade e visibilidade e do poder etico da imagem textual em situacoes que clamam louvor ou reprovacao), veremos como esta estrategia retorica e ficcional, usada a saciedade por Tucidides e recuperada, agora, por Ricœur, para o atelie da historiografia contemporânea, se pode conciliar com uma disciplina que almeja objetividade, imparcialidade e rigor cientifico.
01 Jan 2017
01 Jan 2016
TL;DR: In this article, the authors offer a reflection on the essential characteristics and conditions of communication, hence on what makes communication possible and what makes the primary vocation of communication the other, therefore dialogic listening and responsiveness by the other for the other.
Abstract: This paper offers a reflection on the essential characteristics and conditions of communication, hence on what makes communication possible. Reflection on communication inevitably calls for a focus on the production of meaning and understanding, on the problem of interpretation. The primary vocation of communication is the other, therefore dialogic listening and responsiveness by the other for the other, beyond communication with the same, that is, beyond the conventions of official communication and the order of discourse. The paper is developed according to the following main topics: 1. Utterance, text, interpretation; 2. The apparent paradox of communication; 3. The “rustle” of communication: between implicit meaning and explicit meaning; 4. Sense, significance, ambiguity: reading together Welby and Bakhtin; 5. More characteristics of live discourse—silence, listening, responsive understanding.
Cites background from "Le bruissement de la langue"
...Barthes (1984) speaks of the “rustle of language” (an expression which corresponds to the title of one of his later collections of critical essays) with reference to that system of verbal automatisms which makes language comparable to a running motor, such that the noise it produces is similar to a…...
01 Jun 2015-Trans-Humanities Journal
TL;DR: The authors analyzes the relationship between the autos, the I, the self -inseparable from the bios, life as an experience that the body goes through -and the graphein, the act of writing, the written form, at once text and narrative.
Abstract: This article shows the conditions of the elaboration, and production, of writings. This work analyzes the relationship between the autos, the I, the self -inseparable from the bios, life as an experience that the body goes through -and the graphein, the act of writing, the written form, at once text and narrative. This article interrogates the “I” who knows the identification. Autobiography is an assembly of identities, which requires the readability of oneself. However, the relationship to the language as much as oneself is aporetic because the “I” is placed between the impossibility of owning oneself and language or of appropriating it all in forming some “I” in language and life. The autobiographical writing is considered as a relationship in translation between “I,” “I” and writing, not as a homogeneous narrative provided by the identity of the narrator and the author. It concerns the analysis of the otobiographies through which Derrida analyzes the relationship between the writing and the question of the proper name. This analysis is another approach to autobiographical writing. Autobiographical writing, an account of an individual’s story, reveals the writing of or/and for life.
01 Jan 2007
TL;DR: In this article, the authors focus on the role of the body and analysis as grounds for mediations between music and social structures, and show how the poles of corporeal responses to stimuli and social rules of interpretation do not retain the essential character of music.
Abstract: The main topic of this paper is the relationship between music and social structures. It focuses on the role of the body and analysis as grounds for mediations between both. Using music semiotics as a theoretical basis, the article proceeds with a critical, poststructuralist approach, showing how the poles of corporeal responses to stimuli, on the one hand, and of social rules of interpretation, on the other, do not retain the essential character of music. Instead, music appears as a mediation between those poles, to which analysis also responds as a cultural discourse.
Cites background from "Le bruissement de la langue"
...If the difference relies on the "supplementary meaning" (Barthes, 1985, p. 45), then the scholarly text has also to show the "extra" meaning....
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