458 RHETORICA per “ UKOxpini^"; p. 212 "Luzzato" per "Luzzatto ; p. 217 (Van Elst - Wouters 2005) e p. 218 (Wouters 2007) "xAigk;" per “ xAia^". Giuseppe Arico, Milano Katherine Acheson. Visual Rhetoric and Early Modern English Literature, London: Ashgate, 2013. 174+x pp. ISBN: 9780754662839 (hardback) At first glance, the word "rhetoric" in the title of Katherine Acheson's Visual Rhetoric and Early Modern English Literature is a red herring; the book seldom mentions rhetoric explicitly, and does relatively little work with Renaissance or contemporary rhetorical theory. Instead, it focuses on the ways in which various modes of visual representation in the sixteenth and seventeenth century enabled or facilitated certain types of "brainwork," or "habituated thought, perception trained by exposure, active engagement, repetition, and extension," and how these types of brainwork condition the literature of the period (2). It is in this engagement with brainwork, however, that Visual Rhetoric takes up questions that are inherently rhetori­ cal in nature. Acheson's work can be understood as an investigation into the relationship between conventions of visual representation (visual rhetorics) and frameworks for the communication of human experience (cognitive rhetorics) in 16th and 17th century literature. Acheson's method and central thesis are thoroughly historicist. Each chapter begins with an extensive discussion of a particular mode of visual representation current in the English Renaissance - beginning with military and horticultural diagrams, and moving through dichotomous tables, fron­ tispieces and illustrations in manuals on drawing and writing, and ending by considering various modes of visually and textually representing ani­ mals. The historicizing work is supplemented and strengthened by the inclusion of reproduced examples of each mode being discussed. Acheson's dedication to providing thick historical context is consistent and productive, and this consistency allows the work to display a considerable sensitivity to variations within and differences across modes of visual representation. The first chapter is a particularly strong example of a productive and novel historicism. It considers shifting subject positions in Andrew Marvell's Upon Appleton House as they relate to the subject positions created and pos­ ited by military and horticultural diagrams common in the renaissance, modes of visual encoding which render intelligible the perspective of the speaker in Marvell's famous poem. The analysis in this chapter allows the peculiar mixture of perspectives demonstrated in Marvell's work and ana­ lyzed in the diagrams to serve as an excellent textual lens that not only eluci­ dates a famously complex poem but does so in a way that gears in nicely with existing scholarship. The second chapter discusses dichotomous tables, especially those published as genealogical guides to bibles and the wavs in which they Reviews 459 "powerfully instantiate central concepts of Protestant theology" (60), namely those having to do with the necessary and predetermined relation­ ship between God, Adam, and Christ. The chapter discusses three ways in which the cognitive rhetoric of the dichotomous table structures and is interrogated by Milton's Paradise Lost. And while the reading in this chapter is more expansive than in the first, it is also less complete - although an incomplete reading of Paradise Lost is a mark of honest intellectual engage­ ment rather than a deficiencv of method. The third chapter discusses the visual components of manuals on drawing alongside the representation of artists and writing in manuals on writing, arguing that the visual rhetoric of drawing manuals connects art with artifice, equipment, and scientific modes of knowing. In doing so, those diagrams on art exclude writing from participating in the realm of the scientific and artificial. Acheson goes on to argue that exactly this exclu­ sion is turned to writing's benefit in order to strengthen the traditional ekphrastic conclusion - that poetry is superior to painting - in Marvell's "Last Instructions," emphasizing the ways in which Marvell has adapted a traditional genre to deal with contemporary issues surrounding the rela­ tionship between painting and art. The final chapter discusses multiple modes of representing animals in late seventeenth century literature - from the natural historical and anatom­ ical to the fabular - and how animals are included, evaluated, and problematized by Aphra Behn's Oroonoko. Similarly to the previous chapter, the visual rhetoric of the diagrams becomes an opportunity to discuss...

Although scholars have historically minimized the relationship between medieval grammatical and rhetorical traditions and Chaucer’s poetics, Proserpina’s angry speech in the Merchant’s Tale represents the intersection of medieval classroom grammar exercises, Geoffrey of Vinsauf’s theory of delivery, and poetics. Proserpina’s angry speech reveals that her rhetoric is calculated to subvert the masculine power structures that surround her. Such a focus on Chaucer’s depiction of women’s persuasive tactics helps to highlight Chaucer’s deep engagement with rhetoric beginning in the 1380’s. Moreover, this investigation asks for increased attention to the overlap between classroom grammatical traditions, rhetorical theory, and medieval poetics.

This paper explores the intersections of visual rhetoric, cognition, and phenomenology in two early illustrated print texts, William Caxton's Mirrour and Description of the World and Stephen Hawes's Pastime of Pleasure. Through this analysis, I argue that the visual, material features of these works (illustrations, inscriptions), in addition to their spatial figures and metaphors (mirrors, colors, and measurements), mediate and connect reader to image, perceiver and perceived object, and rhetorical form and matter. Caxton's Mirrour and Hawes's Pastime portray rhetoric as ultimately dependent on the visual imagination, or fantasy, of the reader.

Very little has been written about the quite noticeable tendency of God to address himself in the Old Testament, starting with the opening chapters in Genesis and continuing, intermittently, until 2 Kings. These speeches may very well be the oldest examples we have of what James Hirsh calls “self-addressed soliloquies,” but they cannot be analyzed based on some of the theoretical ideas of Kenneth Burke, Chaim Perelman and Lucie Olbrechts-Tyteca, Augustine (who invented the term), or Harold Bloom. As my analysis of these speeches shows, God's rhetoric in these speeches, his ethos, is highly elliptical, ironic, and contradicts most of what readers expect from a soliloquy.

Book Review| August 01 2016 Review: Spiritual Modalities: Prayer as Rhetoric and Performance, by William Fitzgerald William Fitzgerald, Spiritual Modalities: Prayer as Rhetoric and Performance. University Park: Pennsylvania State University Press, 2012. x+ 158 pp. ISBN 9780271056227 Steven Mailloux Steven Mailloux Steven Mailloux Loyola Marymount University Department of English University Hall 3849 Los Angeles, CA 90045 USA steven.mailloux@lmu.edu Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (3): 325–328. https://doi.org/10.1525/rh.2016.34.3.325 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Steven Mailloux; Review: Spiritual Modalities: Prayer as Rhetoric and Performance, by William Fitzgerald. Rhetorica 1 August 2016; 34 (3): 325–328. doi: https://doi.org/10.1525/rh.2016.34.3.325 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

This paper deals with the conception of rhetoric of one of the most prominent Renaissance scholars, Francesco Robortello, and focuses in particular on his vernacular manuscript entitled Dell'oratore, probably his final statement on the topic, the transcription of which is included in the appendix. The study of the manuscript will be integrated with the examination of Robortello's Latin published works on rhetoric, that is De rhetorica facultate (1548) and De artificio dicendi (1567), as well as of some of his schemes in printed and manuscript form.

Book Review| August 01 2016 Review: The Renaissance Rediscovery of Intimacy, by Kathy Eden, Untutored Lines: The Making of the English Epyllion, by William P. Weaver, Rhetoric and the Familiar in Francis Bacon and John Donne, by Daniel Derrin, Uncommon Tongues: Eloquence and Eccentricity in the English Renaissance, by Catherine Nicholson and Five Words: Critical Semantics in the Age of Shakespeare and Cervantes, Roland Greene Kathy Eden, The Renaissance Rediscovery of Intimacy, Chicago and London: The University of Chicago Press, 2012. x, 149 pp. ISBN: 9780226184623William P. Weaver, Untutored Lines: The Making of the English Epyllion (Edinburgh Critical Studies in Renaissance Culture), Edinburgh: Edinburgh University Press, 2012. x, 219 pp. ISBN: 9780748644650Daniel Derrin, Rhetoric and the Familiar in Francis Bacon and John Donne, Madison: Fairleigh Dickinson University Press, with The Rowman & Littlefield Publishing Group, Inc., 2013. xii, 197 pp. ISBN: 9781611476033.Catherine Nicholson, Uncommon Tongues: Eloquence and Eccentricity in the English Renaissance, Philadelphia: University of Pennsylvania Press, 2014. iv, 218 pp. ISBN: 9780812245585Roland Greene, Five Words: Critical Semantics in the Age of Shakespeare and Cervantes, Chicago and London: The University of Chicago Press, 2013. x, 210 pp. ISBN: 9780226000633. Judith Rice Henderson Judith Rice Henderson Judith Rice Henderson University of Saskatchewan Saskatoon SK S7N 5A5 851 Temperance Street Saskatoon SK S7N 0N2 Canada Judith.Henderson@usask.ca Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (3): 328–335. https://doi.org/10.1525/rh.2016.34.3.328 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Judith Rice Henderson; Review: The Renaissance Rediscovery of Intimacy, by Kathy Eden, Untutored Lines: The Making of the English Epyllion, by William P. Weaver, Rhetoric and the Familiar in Francis Bacon and John Donne, by Daniel Derrin, Uncommon Tongues: Eloquence and Eccentricity in the English Renaissance, by Catherine Nicholson and Five Words: Critical Semantics in the Age of Shakespeare and Cervantes, Roland Greene. Rhetorica 1 August 2016; 34 (3): 328–335. doi: https://doi.org/10.1525/rh.2016.34.3.328 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Reviews 325 form, or form ox er content? Malm's work is not really situated in relation to extant criticism on Aristotle and his reception, despite the eighteen pages on which the eminent Classics scholar Stephen Halliwell is cited. In the end, I have no clear sense of either Halliwell's arguments or how Malm's account of mimesis may or may not relate to them. Other scholars are cited with still greater opacity: for example, in a not uninteresting excursion on the sublime and its relation to visualization (phantasia), we are told, "The evolution of aes­ thetics can be tied to the ev olution of a new kind of social subject, as Peter de Bolla has demonstrated" (p. 139). No explanation follows. To my' mind, the best chapter of The Soul of Poetry Redefined is its tenth and last, "Emotions and the system of genres" (pp. 171-85). Here Malm advances, however tentatively, a real argument with explanatory force. Addressing the question of whv Aristotle stresses content over style and dra­ matic poetry over lyric, Malm writes that in the Poetics, "The pleasure of poetry. . .comes mainiv from understanding, and from pity and fear which are means of understanding. In this way, Aristotle distances poetry consider­ able' from the Platonic critique of linguistic voluptuousness and decadence. . . . Defining the soul of poetrv as lexis, mimesis-representation would have been to subject it to Plato's critique of rhetoric and representation. The soul of poetrv being muthos, content and structure, poetry becomes less reproachable" (p. 175). For Aristotle, emotions are "instrumental," intended to influence an audience, and thus fundamentally rhetorical (p. 176). It is only in the Renais­ sance—Malm adduces Antonio Minturno's L'Arte Poetica (1564)—that lyric, as the representation of a character's emotions, is theorized as a third genre alongside epic and drama. "The definition of a lyric genre," Malm argues, "could onlv take place by redefining emotions from instruments into objects" (p. 178)—a process Malm associates with painting and its theorization as the objectiv e representation of emotion (pp. 178-83). These arguments, sketched at the end of Malm's study, might profitably be pursued in future research. Whatev er the shortcomings of its content might be, The Soul of Poetry Redefined is, as a physical object, resplendent. In cover design, front papers (of a deep scarlet), page layout, and type face, the book is a delight to behold; its paper quality is a delight for the fingers. The Museum Tusculanum Press of the University of Copenhagen is to be commended for reminding us in the age of the internet that academic books can still be things of beauty. Adam Potkay, The College of William and Mary, Williamsburg William Fitzgerald, Spiritual Modalities: Prayer as Rhetoric and Perfor­ mance. University Park: Pennsylvania State University Press, 2012. x+158 pp. ISBN 9780271056227 Spiritual Modalities is an extremely useful book. It not only explores in depth the rhetorical power of prayer; it also provides abundant hermeneutic resources for the further study of this ancient yet still contemporary speech 326 RHETORIC A act genre. Creatively employing Kenneth Burke's dramatism as an interpre­ tive lens, William Fitzgerald has written a detailed post-secular analysis that reveals prayer as an embodied performance, a cognitive scene of address, a material act of invocation, and a social attitude of reverence. Historians of rhetoric might question Fitzgerald's claim that his book is "the first system­ atic study of prayer in relation to rhetoric" (3) and place it instead within the loose tradition of rhetorics of prayer (sometimes anachronistically called artes orandi) that stretches back to William of Auvergne's Rhetorica divina and Erasmus's Modus orandi Deum. Nonetheless, Spiritual Modalities is cer­ tainly a significant contribution to the ongoing religious turn in rhetorical studies and the human sciences more generally. One of the most impressive things about Spiritual Modalities is that Fitzgerald achieves many critical and theoretical goals simultaneously and thus his book can be used in different ways by different readers. For example, he analyzes prayer as a specific rhetorical genre and also employs it as a general meta-rhetorical framework. Rhetorical critics of prayer will value the rich illustrations...

328 RHETORICA that Fitzgerald is correct in predicting that future rhetorical study does indeed have a prayer. Steven Mailloux Loyola Marymount University Kathy Eden, The Renaissance Rediscovery of Intimacy, Chicago and London: The University of Chicago Press, 2012. x, 149 pp. ISBN: 9780226184623 William P. Weaver, Untutored Lines: The Making of the English Epyllion (Edinburgh Critical Studies in Renaissance Culture), Edinburgh: Edinburgh University Press, 2012. x, 219 pp. ISBN: 9780748644650 Daniel Derrin, Rhetoric and the Familiar in Francis Bacon and John Donne, Madison: Fairleigh Dickinson University Press, with The Rowman & Littlefield Publishing Group, Inc., 2013. xii, 197 pp. ISBN: 9781611476033. Catherine Nicholson, Uncommon Tongues: Eloquence and Eccentricity in the English Renaissance, Philadelphia: University of Pennsylvania Press, 2014. iv, 218 pp. ISBN: 9780812245585 Roland Greene, Five Words: Critical Semantics in the Age of Shakespeare and Cervantes, Chicago and London: The University of Chicago Press, 2013. x, 210 pp. ISBN: 9780226000633. Of the five monographs on Renaissance literature reviewed here, the three by Kathy Eden, William P. Weaver, and Daniel Derrin offer learned applications of the history of rhetoric to significant authors and genres of the sixteenth and seventeenth centuries, while the two by Catherine Nicholson and Roland Greene touch on rhetoric in examining early modem complexities of language as indicators of cultural tensions and changes. Eden's The Renaissance Rediscovery of Intimacy makes a significant contri­ bution to the long-standing but frequently contested scholarly project of defin­ ing the Renaissance by the development of individualism. She reexamines the influence of classical authors on Petrarch, Erasmus, and Montaigne to trace their lineage in the rediscovery of what she calls throughout "a rhetoric and hermeneutics of intimacy," that is, a style of intimate writing and reading, activities that Eden, following Hans-Georg Gadamer, sees as inseparable. Focusing on familiar letters, Eden asserts that Petrarch's "letter reading is rooted in the intimacy associated with friendship" (p. 67). Guided by the Senecan model, he transforms Cicero's "rhetoric of intimacy" into "a hermeJ neutics of intimacy" by using the familiar letter to overcome not only physical distance (its chief function according to many ancient letter writers), but also temporal distance, in an effort "to understand his favorite ancient authors, whom he figures in epistolary terms as absent friends" (p. 69). Thus Petrarch, not Montaigne, was "individuality's founding father" (p. 120). The emphasis Reviews 329 Montaigne gives to writing, to friendship, and to frank self-revelation to his reader demonstrates that letter writing is foundational to his devel­ opment of the essay. His famous self-expression is grounded in friendly conversation, almost epistolary senno, between writer and reader. More­ over Montaigne foregrounds style in a legal and proprietary sense that Eden has traced from classical through humanist discussions of familiar­ ity, based in Roman and Greek concepts of the family and of property. Chapter 1 has surveyed the ancient "rhetoric of intimacy" from Aristotle to Demetrius and Quintilian. Erasmus's thoroughly rhetorical textbook on letter writing, De conscribendis epistolis, would seeni to fit awkwardly between Petrarch and Montaigne in Eden's genealogy of a rhetoric and hermeneutics of intimacy, as she acknow­ ledges, but she finds intimate writing in his correspondence, discussions of epistolary exercises in his pedagogical works De ratione studii and De copia, and praise of intimacv in the section on handwriting in De recta pronuntiatione. In its companion dialogue on stvle, Ciceronianus, Bulephorus emphasizes intimate reading as well as writing, both exemplified by the letter. As editor, Erasmus approaches Jerome's works as an intimate reader and describes style as ethos in his preface. Jerome's own editing of Scripture depends on a careful studv of stvle for evidence of forgerv and other corruption. As New Testament editor, Erasmus urges readers to experience Christ by approaching the Gospels as thev would a letter from a friend, while in his Paraphrase on Romans he attempts to capture St. Paul's ethos and use of multiple masks to reach diverse audiences. Eden's rich analysis of Erasmus's interest in intimate writing and reading in a wide range of works pioneers an exciting new scholarly direction in Erasmus studies that goes beyond the epistolary rhetoric he teaches to boys as an exercise...

This paper deals with the conception of rhetoric of one of the most prominent Renaissance scholars, Francesco Robortello, and focuses in particular on his vernacular manuscript entitled Dell’oratore, probably his final statement on the topic, the transcription of which is included in the appendix. The study of the manuscript will be integrated with the examination of Robortello’s Latin published works on rhetoric, that is De rhetorica facilitate (1548) and De artificio diccndi (1567), as well as of some of his schemes in printed and manuscript form.

The West India planter-master became the most vilified figure in British literature as a result of the abolitionist campaign to end the slave trade. The abolitionist primarily responsible for this shift in perception is James Ramsay, specifically in the controversy around his Essay on the Treatment and Conversion of African Slaves in the British Sugar Colonics (1784). He argues that the tyranny of absolute mastery is inherent in African slavery. This essay re-examines the rhetoric of Ramsay’s publication and the ensuing pamphlet war for the “definitional rupture” in the term “master.” This new planter-master, configured as wholly corrupt, shifted the paradigm and created a powerful trope for abolitionists. Srividhya Swaminathan, Long Island University Brooklyn, srividhya.swaminathan@liu.edu.

Very little has been written about the quite noticeable tendency of God to address himself in the Old Testament, starting with the opening chapters in Genesis and continuing, intermittently, until 2 Kings. These speeches may very well be the oldest examples we have of what James Hirsh calls “self-addressed soliloquies,” but they cannot be analyzed based on some of the theoretical ideas of Kenneth Burke, Chaim Perelman and Lucie Olbrechts-Tyteca, Augustine (who invented the term), or Harold Bloom. As my analysis of these speeches shows, God’s rhetoric in these speeches, his ethos, is highly elliptical, ironic, and contradicts most of what readers expect from a soliloquy.

This paper explores the intersections of visual rhetoric, cognition, and phenomenology in two early illustrated print texts, William Caxton’s Mirrour and Description of the World and Stephen Hawes’s Pastime of Pleasure. Through this analysis, I argue that the visual, material features of these works (illustrations, inscriptions), in addition to their spatial figures and metaphors (mirrors, colors, and measurements), mediate and connect reader to image, perceiver and perceived object, and rhetorical form and matter. Caxton’s Mirrour and Hawes’s Pastime portray rhetoric as ultimately dependent on the visual imagination, or fantasy, of the reader.

Reviews Mats Malm, The Soul of Poetry Redefined: Vacillations of Mimesis from Aristotle to Romanticism, Copenhagen: Museum Tusculanum Press, 2012. 238 pp. ISBN 9788763537421 The Soul ofPoetry Redefined is a book that may be of interest to students of poetry and rhetoric, especially those invested in Aristotle's Poetics. Its central claim is that Aristotle is ambiguous in his conceptualization of mimesis, the "soul [psuche] of tragedy" (Poetics, quoted p. 12), if not of poetry in general. Malm presents the ambiguity in this way: When someone—be it Aristotle or any interpreter of his—says that poetry is mimesis or imitation of characters, actions, passions, etc., what is meant by "imitation"? Is it that actions and passions are composed, in the sense of construing [i.e., constructing?] a story, similar to how the historian arranges his account but with the freedom of invention, or that they are represented through words, just like the painter represents things and persons through colours? (Pp. 12-13) In Malm's account, this tension between content and form—muthos and lexis— gives rise to various adaptations of the Poetics over time, from Averroès in the twelfth century to Charles Batteux and Johann Adolph Schlegel in the eighteenth. From Averroès onward, Malm finds mimesis-as-representation stres­ sed over mimesis-as-plot-composition. The soul of poetry thus becomes visual imagery (p. 19) and metaphor (p. 45). Exceptional, in Malm's account, are Corneille and Racine: "The French classicists focus not on mimesisrepresentation but on mimesis-composition, so the 'verisimilar' here comes close to that of Aristotle" (p. 103). Yet this strikes me as unsurprising, given that Corneille and Racine were writing and theorizing on tragedy, just as Aristotle was, while Averroès and those who he influenced through Latin translation in the late Middle Ages and Renaissance addressed literature, and the arts, more generally. There are several basic problems with Malm's study of mimesis and its reception. First, with respect to Aristotle's Poetics, it is not clear to me that "mimesis-representation" and "mimesis-composition" are conceptually separable: I would think, rather, that composition involves representation, and vice versa. Second, I am not sure what's at stake in Malm's study. Could anyone disagree that some poetic theorists have stressed content over Rhetorica, Vol. XXXIV, Issue 3, pp. 324-335. ISSN: 0734-8584, electronic ISSN: 1533-8541. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/joumals.php?p=reprints. DOI: 10.1525/rh.20l6.34.3.324. Reviews 325 form, or form ox er content? Malm's work is not really situated in relation to extant criticism on Aristotle and his reception, despite the eighteen pages on which the eminent Classics scholar Stephen Halliwell is cited. In the end, I have no clear sense of either Halliwell's arguments or how Malm's account of mimesis may or may not relate to them. Other scholars are cited with still greater opacity: for example, in a not uninteresting excursion on the sublime and its relation to visualization (phantasia), we are told, "The evolution of aes­ thetics can be tied to the ev olution of a new kind of social subject, as Peter de Bolla has demonstrated" (p. 139). No explanation follows. To my' mind, the best chapter of The Soul of Poetry Redefined is its tenth and last, "Emotions and the system of genres" (pp. 171-85). Here Malm advances, however tentatively, a real argument with explanatory force. Addressing the question of whv Aristotle stresses content over style and dra­ matic poetry over lyric, Malm writes that in the Poetics, "The pleasure of poetry. . .comes mainiv from understanding, and from pity and fear which are means of understanding. In this way, Aristotle distances poetry consider­ able' from the Platonic critique of linguistic voluptuousness and decadence. . . . Defining the soul of poetrv as lexis, mimesis-representation would have been to subject it to Plato's critique of rhetoric and representation. The soul of poetrv being muthos, content and structure, poetry...

Book Review| May 01 2016 Review: Orfeo in Ovidio. La creazione di un nuovo epos, by Alessandra Romeo Alessandra Romeo, Orfeo in Ovidio. La creazione di un nuovo epos, Soveria Mannelli: Rubbettino, 2012, 198 pp. ISBN 9788849834260 Donatella Puliga Donatella Puliga Donatella Puliga Centro di Antropologia e Mondo Antico Università di Siena Via Roma 47 53100 SIENA donatella.puliga@unisi.it Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (2): 219–220. https://doi.org/10.1525/rh.2016.34.2.219 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Donatella Puliga; Review: Orfeo in Ovidio. La creazione di un nuovo epos, by Alessandra Romeo. Rhetorica 1 May 2016; 34 (2): 219–220. doi: https://doi.org/10.1525/rh.2016.34.2.219 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Um überzeugend vortragen zu können, muss der Redner in der Antike über eine gesunde und starke Stimme verfügen. Dadurch kommt es zu Überschneidungen zwischen der Rhetorik und der Medizin, die der vorliegende Aufsatz untersucht. Ausgehend von der Bedeutung des Vortrags und der Betonung seiner Körperlichkeit werden die praxisorientierten Anweisungen zur Stimmpflege und zum Stimmtraining erläutert. An einem konkreten Textausschnitt aus der Rhetorica ad Herennium wird die Wirkung von Theorien der Stimmerzeugung auf die Anweisungen der Rhetoren zur Stabilität der Stimme im Vortrag gezeigt. Die Theorie, die die Spannung der Atemluft bzw. des Körpers ins Zentrum der Stimmerzeugung setzt, spiegelt sich im akustischen Vokabular für Lautstärke und Tonhöhe wider.

Book Review| May 01 2016 Review: Rhetoric and the Writing of History, 400–1500, by Matthew Kempshall, and Orosius and the Rhetoric of History, by Peter Van Nuffelen Matthew Kempshall, Rhetoric and the Writing of History, 400–1500, Manchester University Press, 2012, x + 627 pp. ISBN 9780719070310Peter Van Nuffelen, Orosius and the Rhetoric of History, Oxford University Press, 2012, viii + 252 pp. ISBN 9780199655274 Cam Grey Cam Grey Cam Grey Department of Classical Studies University of Pennsylvania 201 Claudia Cohen Hall 249 S 36th St Philadelphia, PA 19104 cgrey@sas.upenn.edu Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (2): 216–218. https://doi.org/10.1525/rh.2016.34.2.216 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Cam Grey; Review: Rhetoric and the Writing of History, 400–1500, by Matthew Kempshall, and Orosius and the Rhetoric of History, by Peter Van Nuffelen. Rhetorica 1 May 2016; 34 (2): 216–218. doi: https://doi.org/10.1525/rh.2016.34.2.216 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| May 01 2016 Review: Recollecte super Poetria magistri Gualfredi, by Guizzardo da Bologna Guizzardo da Bologna, Recollecte super Poetria magistri Gualfredi, a cura di D. Losappio, Gli Umanisti, 3), Verona: Fiorini, 2013, IX + 290 pp. ISBN 9788896419588 Costantino Marmo Costantino Marmo Costantino Marmo Dipartimento di Filosofia e Comunicazione Università di Bologna via Azzo Gardino 23 40122 Bologna - Italia costantino.marmo@unibo.it Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (2): 212–216. https://doi.org/10.1525/rh.2016.34.2.212 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Costantino Marmo; Review: Recollecte super Poetria magistri Gualfredi, by Guizzardo da Bologna. Rhetorica 1 May 2016; 34 (2): 212–216. doi: https://doi.org/10.1525/rh.2016.34.2.212 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Different from some of his other works on practical philosophy Aristotle's Rhetoric has a rather strong orientation towards the everyday life world of the poleis of his time. That applies to many of his reflections on the conditions of communication in the poleis as well as to his utterances about social values which are based on common sense. In Aristotle's view the orator's ethos and thus his consequent reference to intersubjectively valid values is the most important instrument for a rhetor to claim credibility. In comparison with the ethopoiia of fourth-century rhetorical practice at Athens there are several structural similarities which, however, are neither due to interdependencies nor manifest themselves in intertextual references, but are due to the fact that Aristotle refers to the orators' conditions of action in a democratic system. Besides, there are also strong differences which seem to have two main reasons: Aristotle's inclination to differentiate and to systematize his topics as well as his tendency to ‘elitism’ which might have philosophical and socio-political components, whereby in the Rhetoric the socio-political ones predominate.

Um überzeugend vortragen zu können, muss der Redner in der Antike über eine gesunde und starke Stimme verfügen. Dadurch kommt es zu Überschneidungen zwischen der Rhetorik und der Medizin, die der vorliegende Aufsatz untersucht. Ausgehend von der Bedeutung des Vortrags und der Betonung seiner Körperlichkeit werden die praxisorientierten Anweisungen zur Stimmpflege und zum Stimmtraining erläutert. An einem konkreten Textausschnitt aus der Rhetorica ad Herennium wird die Wirkung von Theorien der Stimmerzeugung auf die Anweisungen der Rhetoren zur Stabilität der Stimme im Vortrag gezeigt. Die Theorie, die die Spannung der Atemluft bzw. des Körpers ins Zentrum der Stimmerzeugung setzt, spiegelt sich im akustischen Vokabular für Lautstärke und Tonhöhe wider.

Different from some of his other works on practical philosophy Aristotle’s Rhetoric has a rather strong orientation towards the everyday life world of the poleis of his time. That applies to many of his reflections on the conditions of communication in the poleis as well as to his utterances about social values which are based on common sense. In Aristotle’s view the orator’s ethos and thus his consequent reference to intersubjectively valid values is the most important instrument for a rhetor to claim credibility. In comparison with the ethopoiia of fourth-century rhetorical practice at Athens there are several structural similarities which, however, are neither due to interdependencies nor manifest themselves in intertextual references, but are due to the fact that Aristotle refers to the orators’ conditions of action in a democratic system. Besides, there are also strong differences which seem to have two mam reasons: Aristotle’s inclination to differentiate and to systematize his topics as well as his tendency to ‘elitism’ which might have philosophical and socio-political components, whereby in the Rhetoric the socio-political ones predominate.

This article proposes and explicates a rhetorical model for the function of notational writing in sixteenth-and seventeenthcentury European mathematics. Drawing on enargeia’s requirement that both author and reader contribute to the full realization of a text, mathematical enargeia enables the transformation of images of mathematical imagination resulting from an encounter with mathematical writing into further written acts of mathematical creation. Mathematical enargeia provides readers with an ability to understand a text as if they created it themselves. Within the period’s dominant reading of classical geometry as a synthetic presentation that suppressed, hid, or obscured analytic mathematical reality, notational mathematics found favor as a rhetorically unmediated expression of mathematical truth. Consequently, mathematical enargeia creates an operational and presentational link between mathematics’ past and its future.

Reviews Guizzardo da Bologna, Recollecte super Poetria magistri Gualfredi, a cura di D. Losappio, Gli Umanisti, 3), Verona: Fiorini, 2013, IX + 290 pp. ISBN 9788896419588 Il commento di Guizzardo da Bologna alla Poetria nova di Goffredo de Vino Salvo (Vinsauf) costituisce un documento molto intéressante che arricchisce l'immagine del panorama culturale delle université italiane degli inizi del Trecento. L'editore del testo, Domenico Losappio, ricostruisce con grande rigore, nella sua introduzione, le vicende biografiche e accademiche di Guizzardo, avanzando alcune ipotesi sulTorigine del suo commento. Di nascita bolognese, Guizzardo potrebbe aver insegnato grammatica e retorica nello Studio bolognese tra la fine del XIII secolo e l'inizio del XIV (ma non si hanno che deboli indizi in questo senso); lo troviamo, invece, con certezza all'Università di Siena dal 1306 come docente di grammatica, a seguito della soppressione dello Studio bolognese da parte del legato papale, cardi­ nale Napoleone Orsini, e della conseguente emigrazione di docenti, tra i quali anche Dino Del Garbo, dallo Studio stesso; nel 1321 gli viene conferito un incarico presso il nascente Studio florentino, dove insegna grammatica, lógica e filosofia. Tra l'incarico a Siena e quello a Firenze, cioè tra il 1315 e il 1320 (o, meno probabilmente, in periodo precedente al periodo senese) potrebbero collocarsi sia un suo magistero a Padova, sia la composizione del commento alia Poetria nova. L'editore, dopo aver illustrato le modalité con cui la retorica veniva insegnata tra fine XIII e inizio XIV secolo a Bologna, dove si passa dalTesclusivo insegnamento delTars dictaminis alla lettura della Rhetorica ad Herennium (in particolare), ipotizza che a Padova nello stesso periodo si cominciasse invece a leggere la Poetria nova al posto delTÁd Herennium (p. 57). In questo senso indirizzano alcuni elementi, attentamente discussi e valutati dall 'editore. In primo luogo, Latfinità testuale e culturale con un altro commento italiano alla Poetria nova (dei quattro conservad), quello di Pace da Ferrara, che probabilmente insegnô all'Università di Padova, secondo lo studio che Marjorie C. Woods ha dedicato ai commenti alia Poetria nova. In secondo luogo, la testimonianza di un altro maestro di ars dictaminis, Bichilino da Spello, e il quadro interpretativo che della Poetria nova egli fomisce nel proemio al suo Pomérium rethorice, composto a Padova nel 1304: per questo maestro sia il Candelabrum di Bene da Firenze, sia la Poetria nova costituiscono le fonti prin­ cipal! da cui ricavare la teoria del dictamen e afferma di averti usati entrambi Rhetorica, Vol. XXXIV, Issue 2, pp. 212-220. ISSN: 0734-8584, electronic ISSN: 1533-8541. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/joumals.php?p=reprints. DOI: 10.1525/rh.2016.34.2.212. Reviews 213 nel proprio insegnamentó presso lo Studio patavino. Il commento di Guizzardo si inseiirebbe quindi in un contesto culturale, quello padovano, giá pronto a recepire la novità dell'insegnamento della Poetria nova come trattato di ars dictaniinis. L editore presta un attenzione particolare, nell'introduzione come nelle note che accompagnano l'edizione, alie fonti del commento. Le principali, soprattutto per la parte dedicata ai colores rhetorici, sono senz'altro la Rhetorica ad Herenmum, utilizzata sovente, e giustamente, come chiave di lettura della Poetria, il Candelabrum di Bene da Firenze e, probabilmente, il Cedrits Libani di Bono da Lucca (che sarebbe di poco anteriore al commento stesso): è spesso da un libero utilizzo di queste tre fonti che emerge il testo di Guizzardo, che a volte trae da un testo la definizione e da un altro gli esempi o altri dettagli esplicativi. Un elenco delle altre fonti utilizzate ci fornisce un'idea della formazione di Guizzardo, molto ampia sul versante letterario (andando dalla Consolatio plnlosopluae ai Disticha Catonis, da Giovenale a Ovidio, da Stazio a Terenzio), molto piu ristretta e convenzionale quella relativa a discipline affini, come la grammatica o la lógica (su cui torneremo). II commento si presenta come una expositio letterale del testo di Goffredo, preceduta da un breve proemio in cui Guizzardo colloca la disciplina poética...

216 RHETORICA del fratello di Guizzardo, i Flores veritatis gramatice di Bertoluccio (sopra ricordato), conservata anche in altri due manoscritti (e attribuita a Gentile da Cingoli in un altro ms.). Lo studio di quest'opera che, secondo il giudizio di Gian Carlo Alessio, è "un manuale costruito coi modelli della grammatica speculativa", sarebbe molto intéressante perché potrebbe costituire il legame tra la tradizione di riflessione grammaticale, importata probabilmente tra i maestri delle arti e medicina di Bologna da Gentile da Cingoli (il maestro di Angelo di Arezzo), e la tradizione di insegnamento della grammatica e della retorica (dictamen) di ámbito giuridico-notarile che convivevano a Bologna, non sempre in buoni rapporti. COSTANTINO MARMO, BOLOGNA Matthew Kempshall, Rhetoric and the Writing of History, 400-1500, Manchester University Press, 2012, x + 627 pp. ISBN 9780719070310 Peter Van Nuffelen, Orosius and the Rhetoric of History, Oxford University Press, 2012, viii + 252 pp. ISBN 9780199655274 In recent years, scholarly attitudes towards writers of history in the late antique and medieval period have undergone a fundamental series of trans­ formations. It is no longer sufficient to describe these individuals as mere imi­ tators of a glorious classical historiographical tradition, using tools that they only barely understood with limited success. Nor can they be unreflectively dismissed simply as polemicists and moralizers, subject to the particular pressures that attended an overly-literal reception of Biblical themes and models. The two books under review here add further fuel to a revisionist reading of medieval historiography by focusing upon the ways in which authors could strategically utilize techniques of argumentation and presenta­ tion drawn from the training in rhetoric and grammar that underpinned the literary culture of the period. Matthew Kempshall's Rhetoric and the Writing of History, 400-1500 is a magisterial, synthetic introduction to the subject, aimed principally at students and scholars new to the field and encompassing some 550 pages of elegantly written, exhaustively supported argumentation. In his Orosius and the Rhetoric ofHistory, meanwhile, Peter Van Nuffelen offers a collection of carefully drawn interpretative vignettes which seek to engage scholars of both historiography and Christian literature of the period, and, in the process, to redirect the focus of Orosian scholarship by placing him within the context of secular, as well as Christian, historiography of the fifth and sixth centuries. Both projects are, therefore, explicitly rehabilitative in nature: Kempshall's to demonstrate that medieval historiography was neither crude nor credulous nor conceptually unsophisticated" (536), and Van Nuffelen's to deliver Orosius from the accusation that he was an unimaginative, unintelligent theologian who fundamentally misunderstood the works of his patron, Augustine of Reviews 217 Hippo. Both authors go about their projects by emphasizing the close and enduring relationship between the writing of history and the practices, concerns, and techniques of classical rhetoric. In particular, both acknowledge and build upon existing arguments about the extensive and substantial influ­ ence of manuals of rhetoric (particularly Cicero, Quintilian, and the pseudoCiceronian Rhetonoi iid Hei'eniiiimi) on the education that authors of the period received. For Kempshall, the pervasiveness of classical rhetoric in medieval thought and literature should not be understood as a black mark against the veracity, reliability, or integrity of practitioners of the period. On the contrary, the principles of deliberative, judicial, and demonstrative rhetoric provided the writers of history with the tools that thev needed in order to fulfill the tripartite objective of history: to teach, to move, and to please. After first outlining the immense diversity of texts that are collected together under the rubric of medi­ eval historiography and the fundamental forms and objectives of the three types of classical rhetoric that authors of those texts might be expected to be familiar with, Kempshall proceeds to explore in detail the principles and tech­ niques of classical rhetoric, and the texts and contexts in which they can be found in historical writing of the period. In the process, he also questions and begins upon a deconstruction of the tendency to identify the 12th and 15th centuries as w atershed moments in the history of medieval historiographv . While he agrees that the intellectual and cultural developments of those centuries do mark significant points in the dev elopment of medieval...

Reviews 219 Alessancha Romeo, Orfeo in Ooidio. La crenzioiie di mi nuovo epos, Soveria Mannelli: Rubbettino, 2012, 198 pp. ISBN 9788849834260 L insistíta permanenza del racconto di Orfeo, nelbimmaginario letterario e artístico che si e andato tino ad oggi configurando, a partiré dalle due grandi narrazioni latine delle vicende del cantore di Tracia (quella del Viigilio delle Gcorpichc e quella dell Ovidio delle Metamorfosi), varrebbe gia di per sé a giustificare una nuova messa a fuoco di alcune problematiche di poética e di técnica narrativ a. Altrettanto utile sarebbe la loro riorganizzazione in un discorso critico che renda conto della peculiarita della narrazione ovidiana rispetto a quella del suo modello. É quanto si pro­ pone il lav oro di Alessandra Romeo. Da molto tempo impegnata negli studi relativi alia produzione épica ovidiana, l'A. affida i risultati della sua ricerca a un volume ricco e articolato secondo modalita espositive che costituiscono un valido sostegno nell'intelligenza del testo ovidiano e aiutano a coglierne quell'andare 'oltre' la narra­ zione virgiliana, senza rinunciare alia continuita della sua memoria. II la\ oro del l'A. e organizzato in dieci capitoli e quattro appendici, attraverso i quali ripercorre - e guida il lettore a ripercorrere, fornendogli una solida lezione di método -la taluda Orphei secondo un criterio interpretativo applicabile non solo alia sezione orfica, ma alhintero "racconto del mondo" ospitato nelle Metamorfosi. Le vicende di Orfeo si distendono, all'interno del poema ovidiano, tra i libri X e XI, che presentano scarti talmente significativa rispetto alia narra­ zione del IV delle Gcoiyiche da legittimare hipótesi (peraltro ben fondata su una letteratura critica citata con decisa consapevolezza) di una profondamente mutata percezione del mito nell'orizzonte ovidiano e, in definitiva, di una origínale Weltansehauinip che puré molto deve al dettato virgiliano. Non solo al Virgilio épico, ma anche a quello bucólico. Resta vero - come osserva a piü riprese l'A. - che, se la favola di Orfeo modulata sul sentiré virgiliano era caratterizzata da una dimensione "morale-religiosa che Virgilio vi aveva impresso e che ne contestualizzava lo svolgimento in un itinerario di perdita-colpa-espiazione", nella versione ovidiana viene riservata al cantore l'assoluta titolaritá, che non lascia spazio al coinvolgimento della natura e del mondo circostante (come invece era stato in Virgilio), di un dolore che viene cantato con accenti di studiata retorica in funzione persuasiva delle divinitá infere. In questa articolazione retorica sembra non restare molto spazio per belegia, soprattutto per quanto riguarda la caratterizzazione ovidiana di Euridice: personaggio totalmente avvolto dal silenzio, che recalcitra alia coanotazione di sposa infelice o eroina abbandonata, perdendo quindi la dimensione trágica che Virgilio le aveva consegnato, e assumendo invece tratti di piü vigilata razionalitá che solo il suo stesso silenzio puó raccontare. Una lunga sequenza di "canti orfici" seguono - come é noto - al momento della "secondei morte" di Euridice, ed é questo tratto - che riveste il ruolo di una serie di racconti di cornice - ad allontanare e diffenre nei 220 RHETORICA tempo e nello spazio il momento delta morte del cantore di Tracia. Su queste narrazioni, da quella dell'amore di Giove per Ganimede a quella di Giacinto, di Pigmalione, di Mirra, di Adone (tutte sotto il segno di Venere), l'A. si sofferma in maniera analitica per evidenziarne la polifonia di registri, la presenza di seducenti forme di mise en abyme, le strutture di racconti a cornice segnati da un sempre vigile virtuosismo retorico-narrativo. Si tratta della parte del lavoro che risulta la piu convincente, per la sua attenzione al gioco narrativo in perfetto equilibrio tra omaggio alia tradizione e sapiente scarto di forme e di stile. L'intera sezione orfica delle Metamorfosi appare quindi - secondo l'A., che conferma cosí altre significative opinioni in mérito un microcosmo di racconto che ripropone in certa misura il senso e la struttura compositiva del "racconto del mondo". In entrambi i casi, si offrono in costante evidenza tratti di estrema consapevolezza artística da parte dell'io narrante, di sapiente attenzione al pubblico che della narrazione stessa fruisce, di trasformazione dei topoi letterari in trame in inesauribile movimento. Sembra questa la cifra caratterizzante di tali racconti, che pur concludendosi in...

Book Review| February 01 2016 Review: The Experience of Beauty in the Middle Ages, by Mary Carruthers Mary Carruthers, The Experience of Beauty in the Middle Ages(Oxford-Warburg Studies), Oxford: Oxford University Press, 2013. xii + 233 pp. ISBN 9780199590322 Juanita Feros Ruys Juanita Feros Ruys Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (1): 113–115. https://doi.org/10.1525/rh.2016.34.1.113 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Juanita Feros Ruys; Review: The Experience of Beauty in the Middle Ages, by Mary Carruthers. Rhetorica 1 February 2016; 34 (1): 113–115. doi: https://doi.org/10.1525/rh.2016.34.1.113 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| February 01 2016 Review: Theorizing Histories of Rhetoric, by Michelle Baliff Michelle Baliff, ed., Theorizing Histories of Rhetoric, Carbondale: Southern Illinois University Press, 2013. 238 pp. ISBN 9780809332106 Arthur Walzer Arthur Walzer University of Minnesota Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (1): 115–118. https://doi.org/10.1525/rh.2016.34.1.115 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Arthur Walzer; Review: Theorizing Histories of Rhetoric, by Michelle Baliff. Rhetorica 1 February 2016; 34 (1): 115–118. doi: https://doi.org/10.1525/rh.2016.34.1.115 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| February 01 2016 Review: Retórica e Eloquência em Portugal na época do Renascimento, by B. Fernandes Pereira B. Fernandes Pereira, Retórica e Eloquência em Portugal na época do Renascimento, Lisbon: Imprensa Nacional – Casa da Moeda, 2012; 988 pp. ISBN 9789722719711 Kees Meerhoff Kees Meerhoff Amsterdam Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (1): 110–113. https://doi.org/10.1525/rh.2016.34.1.110 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Kees Meerhoff; Review: Retórica e Eloquência em Portugal na época do Renascimento, by B. Fernandes Pereira. Rhetorica 1 February 2016; 34 (1): 110–113. doi: https://doi.org/10.1525/rh.2016.34.1.110 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| February 01 2016 Review: At the Limits of Art: A Literary Study of Aelius Aristides' Hieroi Logoi, by Janet Downie Janet Downie, At the Limits of Art: A Literary Study of Aelius Aristides’ Hieroi LogoiNew York: Oxford University Press, 2013. pp. 1–223. ISBN 9780199924875 Raffaella Cribiore Raffaella Cribiore New York Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (1): 106–108. https://doi.org/10.1525/rh.2016.34.1.106 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Raffaella Cribiore; Review: At the Limits of Art: A Literary Study of Aelius Aristides' Hieroi Logoi, by Janet Downie. Rhetorica 1 February 2016; 34 (1): 106–108. doi: https://doi.org/10.1525/rh.2016.34.1.106 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Research Article| February 01 2016 Erkenne den Feind!: Strategien der politischen Verunsicherung im Agon zwischen Caesar und Cato in Sallusts coniuratio Catilinae Thomas Schirren Thomas Schirren Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (1): 27–54. https://doi.org/10.1525/rh.2016.34.1.27 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Thomas Schirren; Erkenne den Feind!: Strategien der politischen Verunsicherung im Agon zwischen Caesar und Cato in Sallusts coniuratio Catilinae. Rhetorica 1 February 2016; 34 (1): 27–54. doi: https://doi.org/10.1525/rh.2016.34.1.27 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Reviews Janet Downie, At the Limits ofArt: A Literary Study ofAelius Aristides' Hieroi Logoi New York: Oxford University Press, 2013. pp. 1-223. ISBN 9780199924875 In this book Janet Downie displays an expert and intimate understand­ ing of Aelius Aristides, the eccentric second-century rhetor from Asia Minor. She focuses in particular on his Hieroi logoi (HL) and the relationship between religion and rhetoric. In his concern with the divine, Aristides pushed the rhetoric of religion to its limits. Asclepius was his inspiration, his teacher, and, to some degree, his co-author, and was at the center of the HL, which Aristides considered the fulfillment of his obligation to this god. Yet the real protagonist of the work is Aristides with his failing body, his dreams, his cures, his performances, and his powerful self-assertion. Downie argues that Aristides' purpose is rhetorical, and he uses his narrative of divine healing to create a portrait of himself as a professional rhetor. Whether Aristides succeeded in this purpose, and was able to commu­ nicate his vision to his audience is a question which persists throughout the book, but, basically, cannot be solved. No reaction from Aristides' contempo­ rary audience has been preserved. It is puzzling that in his Lives ofthe Sophists Philostratus recognized the rhetor's craft but did not mention the religious character of his rhetoric, ignored the presence of Asclepius, and dismissed Aristides' talent because of his lack of improvisation. Apart from Libanius and some of his friends in the fourth century, later reception of Aristides and the HL was decidedly cool, and, in the nineteenth and twentieth centu­ ries, utterly disdainful. Downie attributes this to the fact that the HL were not read in conjunction with the rest of Aristides' work. It is uncertain whether she is right, or if generations of readers simply considered the work too eccentric and odd. A merit of Downie's book, in any case, is that it puts the HL in dialogue with all Aristides' writings, his orations and Hymns in particular, so that the whole of this challenging author is illuminated. One of the difficulties in approaching the HL as a coherent literary work is the discontinuity in its style. Book 1 is in diary form, and books 2-5 proceed thematically and have narrative aims. With great literary sensibility, Downie shows that the different styles derive from various and deliberate layers of composition intended to throw into high relief the combination of the divine voice with the human voice. Aristides' dreams are many and so vivid that Rhetorica, Vol. XXXIV, Issue 1, pp. 106-118. ISSN: 0734-8584, electronic ISSN: 1533-8541. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page http://www.ucpress.edu/journals.php?p=reprints. DOI: 10.1525/rh.20l6.34.l.l0b. Reviews 107 they make an impact on the reader. Discontinuity is typical of dreams and Downie links the unique language of dreams to Aristides' desire to suggest dreaming as a cognitiv e process. This reviewer does wish that Downie had taken briefly into account the dreams of the sons of Glaukias in Ptolemaic Memphis who lived and slept in the temple of Sarapis. Their words and expressions on papyri were those of common people and so they could have prov ided a useful comparison. Undoubtedly' the most disconcerting parts of the HL are those in which the author appears to further weaken his body by endless vomiting or dipping in frigid waters. Aristides knew7 contemporary medicine and the medical tradi­ tion and sometimes first consulted doctors who appear as rivals of Asclepius who triumphs at the end. Downie rightly remarks that this is the first instance in which an author revealed the illnesses and cures he personally experienced. Yet, we can surmise that these passages were the most repulsive to his contemporaries and may hav e been the cause of their disregard of the whole work. While Aristides sometimes is a patient passive in the hands of his doc­ tors and Asclepius, at times he has...

Reviews 113 had to resort to the footnotes with their quotations in Latin in order to fully understand the text. This confession is a hardly covert recommendation to publish as soon as possible an English translation of this wonderful book, written in the best tradition of the International Society for the History of Rhetoric. Kees Meerhoff, Amsterdam Marv Carruthers, The Experience of Beauty in the Middle Ages (OxfordWarburg Studies), Oxford: Oxford University Press, 2013. xii + 233 pp. ISBN 9780199590322 The Experience of Beauty in the Middle Ages is, like the rhetorical artworks it examines, a tour (iter) through the beauty of artifice. As we progress, our expert guide, Mary Carruthers, offers us insights into aspects of rhetoric that led the medieval reader to pleasure, such as suavitas (sweetness). Indeed, the book's own construction embodies the rhetorical pleasure of varietas, as our guide now points to Augustine, then Dante, before casting back to Aristotle and then taking up Aquinas; meanwhile her favourite, Bene of Florence, is never far from the scene. Chapter 1 examines the notion of ludic space and the medieval distinc­ tion of serin and ioca, moving from medieval school debates to the complex compositional and experiential aesthetics of the Anglo-Saxon Dream of the Rood. The next chapter explores the sensory and volitional nature of aesthe­ tics, particularly considering the aesthetic of difficult style in patristic letters and those of Bernard of Clairvaux. Chapter 3 discusses 'sweetness' as both aesthetic pleasure and a form of medicine in medieval thought, and compre­ hensively analyses the valences of multiple Latin terms for 'sweetness', including how medieval thinkers recognized the dangers of sweetness in persuasion. The fourth chapter considers the conceptual and linguistic history in the classical and Medieval Latin tradition of the Modern concept of 'Taste' as an aesthetic judgment. In Chapter 5, Carruthers shows us how the medieval mind and body valued 'varietas', utilizing hybridity ('monsters') not just didactic purposes, but for the aesthetic sensory experi­ ence it could offer as well. And yet, if we proceed through the book via its own ductus, the path it sets out before us, as Carruthers has outlined here and elsewhere,1 we arrive in the final chapter, 'Ordinary Beauty', at a conundrum. Only here is volume's title term 'Beauty' given definition and the concept of 'aesthetics' subjected to ’Here, p. 53; see also Carruthers, 'The Concept of ductus, or Journeying through a Work of Art', in Rhetoric Beyond Words: Delight and Persuasion in the Arts ofthe Middle Ages, ed. Mary Carruthers (Cambridge: Cambridge University Press, 2010), pp. 190-213: 'an ongoing, dynamic process rather than. . .the examination of a static or completed object'; 'Ductus is the way by which a work leads someone through itself'. 114 RHETORIC A analysis.2 These late-placed definitions allow us to see that while Carrutilers' focus in the preceding chapters on the aesthetic attributes of human-crafted artifacts has lent itself to an analysis and vocabulary of pleasure, it has not nec­ essarily lent itself to a vocabulary of beauty, in the way traditionally associated with natural and supernatural forms (human, landscape, divine). Carruthers has been able to show us medieval readers taking enjoyment and pleasure in texts constructed to evince suavitas and varietas, but the leap from this to 'beauty' resides in a conflation that pertains throughout the volume: corporeal sensation = aesthetic sensation = beauty.3 In terms of the book's argument, then, Carruthers need only find sensory perception to find beauty. This is not, however, a necessary correlation, as a text cited by Carruthers in her earlier chapter on ductus reveals: there she quotes Horace, Ars poetica (99): 'It is not enough for poems to be beautiful—they must be sweet'.4 This would suggest a distinction between aesthetic ideal and sensory pleasure that tends to be collapsed in The Experience ofBeauty. Neither does the identifi­ cation of sensory input with beauty allow for the medieval understanding that sensory pleasure could be taken in what was not beautiful—for example, sin. It is also telling that the words 'pulcher' / 'pulchritudo', which one might think most immediately expressive of 'beauty' in Medieval Latin, hardly appear until the final chapter. Also of concern...

Reviews 115 of the high Middle Ages, Scholastics, scholars of the emergent scientific rex olution, and authors of the great late medieval vernacular literary works all had distinctly different understandings, valorizations, and usages of sense-derived knowledge and the category of 'experience'. This observation would, I think, impact Carruthers' analysis of the stylistic notion of 'curiositas ', particularly in relation to Bernard of Clairvaux (pp. 149-150): the cita­ tions from Bernard suggest a response to 'curiositas' as much ethical as aesthetic/ I do not mean these comments to detract from what is clearly a bril­ liant and erudite study of the aesthetic pleasure readers took in rhetorically constructed texts in the Middle Ages. My concern is not about Carruthers' analysis so much as her positioning of it under the critical terms 'Beauty' and 'Experience'. A title like 'The Pleasure of Aesthetic Judgments in the Middle Ages', though less impactful, might have captured the nature of the argument more accurately. I strongly recommend this book to all inter­ ested in the aesthetic reception of rhetorical texts in the Middle Ages and invite them to take the thought-provoking iter laid out for them by Profes­ sor Carruthers. Their experience of beauty along the way will be, in the way of experience, for them alone to judge. Juanita Feros Ruys Michelle Baliff, ed.z Theorizing Histories of Rhetoric, Carbondale: Southern Illinois University Press, 2013. 238 pp. ISBN 9780809332106 Theorizing Histories of Rhetoric is well-conceived collection of essays on historiography. Most of the essays review the literature relevant to the area of historiography addressed and illustrate the historiographic principles considered with an example. These features, probably the result of editor Baliff's nudging, make the collection appealing as a textbook for a graduate course. Both Baliff in her "Introduction" and Sharon Crowley in the "After­ word" recall the heady days of the 1980s and 90s when historiography inspired passionate debate, contrasting those times with the current scene. The questions debated then were of three types: (1) Political: What principles of selection led to the creation histories that were racist and sexist? (2) Formal: Should a historiography be suspicious of a narrative of a tradition with "tra­ dition's" inherent propensity to mask fissures and occlude determinative local, situational factors? (3) Generic: Should the historian attempt to recon­ struct the past in its own terms, muting the historian's voice? Or should we frankly and freely appropriate the past for our own ends? The contributors to this volume address these same issues, and if, at the philosophical level, 7This in contrast to Carruthers' assertion that the terms of rhetoric 'are less assessments of states of being or of ethical worth than of sensory affect (p. 45). 116 RHETORICA the answers to these questions seem more settled, differences in approach and emphasis are still important. All the contributors directly or implicitly welcome the expansion of the rhetorical tradition and applaud the critique of rhetoric's traditional norms as sexist, racist, heteronormative, and ethnocentric. In her chapter, Jessica Enoch helpfully divides and categorizes the critique under the rubrics of "recovery" and "re-reading," but she also complains that the current histo­ riography cannot accommodate gendered readings of the rhetoric of public memory and the gendered nature of the architecture of certain sites of typi­ cal rhetorical performance—literatures she reviews. Byron Hawk supports recovery work but seems bored with it, characterizing the effort to "retrieve the excluded" as having become a "bureaucratic mandate" (110). Hawk is impatient: the recovery work of the last twenty years has merely fit more figures into the familiar teleological narrative. He calls for more radical his­ toriographies and histories. Hawk primarily objects to teleology, and he suggests principles of a his­ toriography that would resist teleology and produce radically subjective, performative histories. A properly postmodern historiography would be compatible with the new materialism (Deleuze and Guattari) and with (non-teleological) complexity theories that have characterized recent work across humanities disciplines. Hawk finds a source of inspiration for such a historiography in the writings on improvisation of music theorist and jazz musician David Borgo. He claims his model would ultimately produce "bot­ toms up"(120) histories that would identify discrete moments...

Sally Miller Gearhart’s 1979 remark that “any intent to persuade is an act of violence” based in “conversion/conquest” argumentation2, led many feminists, in the eighties and nineties, to describe more cooperative alternative models of academic argument. However, their critiques and suggestions had little field impact, largely due to negative reactions in relevant journals. The polarized reactions, typical of what Deborah Tannen calls our “Argument Culture,” resulted in dismissive and condemnatory rhetoric, and fruitful ideas were lost. This essay suggests that an alternate multivalent or “fuzzy” rhetoric would have proved a more positive environment for the new ideas, and describes how rhetorical studies might use this rhetoric to change the ways we respond to and teach persuasion and argumentation.

110 RHETORICA dialect when the sophists spread their teaching in the Hellenic world. The inscriptive evidence provides a strong case for the utility of sophistic rhetoric. This innovative volume builds a case for using physical artifacts along with textual evidence to research the histories of rhetoric. Researchers look­ ing into under-represented or marginalized traditions may find this book useful for providing a method to examine the cultural context of these understudied rhetorics. Enos is arguing for an expansion of method which feminist rhetoricians are already strongly embracing. Scholars looking to expand their repertoires in academic investigation may find these new ave­ nues for research rewarding. Robert Lively, Arizona State University B. Fernandes Pereira, Retórica e Eloquéncia em Portugal na época do Renascimento, Lisbon: Imprensa Nacional - Casa da Moeda, 2012; 988 pp. ISBN 9789722719711 For most people, the rich history of Portuguese rhetoric is terra incog­ nita. The comprehensive survey of Belmiro Pereira offers a unique occasion to explore these unknown fields and discover their many treasures. Many ISHR members will be delighted to see their names in the footnotes of this extremely well documented book. It starts with an overview of medieval rhetoric and the transmission of ancient texts during this period; there are chapters on the artes dictandi and artes praedicandi, on classical rhetoric in medieval Portuguese culture, on reading the Fathers of the Church, on the growing interest in the works of Aristotle, Cicero and Quintilian in the four­ teenth and fifteenth centuries. As in other parts of the book, Pereira indica­ tes where the manuscripts of these works are to be found: this precise information about the major places of learning in Portugal and Spain is very welcome. It also shows the aim of the author to present rhetoric in the wider context of education, culture and religion. This aim continues to be pursued in the second part of the book, which deals with rhetoric and the rise of humanism in Portugal. The prominence of rhetoric in Renaissance culture is considered in an international perspec­ tive, with special emphasis on developments in Spain, France and, more unexpectedly, in Germany and the Low Countries. Indeed, one of the major discoveries in this book is the importance of Northern humanism for the evolution of rhetorical education in Portugal. The author has founded his research on an extensive knowledge of the sources in the various countries under consideration. His reading of studies published in all these countries on the subject of Renaissance rhetoric is vast, up to date and accurate. A stu­ dent of German or Spanish rhetoric may learn a great deal from this book about his or her own field of interest. The presence of major works of ancient, medieval and Renaissance rhetoric in the more important Portuguese libraries is documented for two Reviews 111 periods, before and after the year 1537. The author singles out the years 1527 to 1548 for special consideration. In these two decades the King of Portugal, John the Third, sent his country's most promising students to Paris to have them acquaint themselves with the ideas and methods of Erasmian humanism. They gathered in a college run more or less perma­ nently by Portuguese scholars: Sancta Barbara, in French Sainte-Barbe. Moreover, the syllabus of the Santa Cruz monastery in Coimbra was reorga­ nised according to modern standards. Finallv, in the year 1548 the humanist Colegio das Artes is established by order of the King in the same city; and teachers educated in centres of learning in Paris and elsewhere in Europe are engaged to bring to Portugal the methods of reading and writing devel­ oped by major humanist educators. According to B. Pereira 1537 was a pivotal year: the centre of higher education was transferred from Eisbon to Coimbra and the King's brother Henry (D. Henrique) founded in Braga a new college, Saint Paul's. In this latter college, the influence of Northern humanism is conspicuous due to the presence of teachers such as N. Clenardus and J. Vasaeus. Pereira gives a great deal of attention to the career of A. Pinus (Pinheiro), educated in Paris and afterwards entrus­ ted with high offices at the Portuguese court...

This article considers the epistemology of Classical rhetoric and Hippocratic medicine, focusing on two key terms: semeion and tekmerion. Through an analysis of the specific case of ancient Greek medicine and rhetoric, we hope to bring out the conjectural and fallible nature of human knowledge. The paper focuses on the epistemological and methodological affinity between these two ancient technai, and considers the medical uses of semeion and tekmerion in the light of their meaning in the rhetorical sphere. Chronologically, the analysis follows an inverse pathway: it starts from Aristotle and from Rhetorica ad Alexandrum, and then moves on to Antiphon’s texts (chosen as an exemplary case) and ends with the Corpus Hippocraticum.

Tradizionalmente attribuito a Francesco Filelfo, il commento alla Rhetorica ad Herennium trasmesso dal ms. Varia 75 della Biblioteca Reale di Torino (nel quale, stando al colophon posto in chiusura del manoscritto, fu trascritto da Ludovico Maria Sforza) è in realtà opera di Giovan Francesco Picenardi, che mise insieme vari brani del commento di Guarino Veronese alla Rhetorica ad Herennium. Nel presente articolo si cerca, più precisamente, di individuare quale, fra le molteplici versioni del commento di Guarino, rappresentò il modello per Picenardi.

Thomas Schirren Erkenne den Feind! Strategien der politischen Verunsicherung im Agon zwischen Caesar und Cato in Sallusts coniuratio Catilinae 1. D \S POEITISCHE ALS EXISTENTIELLER AnTAGONISMUS n seinem epochemachenden Aufsatz „Der Begriff des Politischen" von 19321 unternimmt Carl Schmitt eine Bestimmung des Politischen durch die polare Entgegensetzung von Freund und Feind2. Das Freund-Feind-Verhâltnis vollziehe sich als existentieller Kampf, der mit dem Freund gegen den Feind geführt wird. Der Freund selbst kann so freilich nur als Mitstreiter zu verstehen sein, der sich mit einem selbst gegen den Feind verbündet. Vorausgesetzt wird dabei indessen, dass der Mensch als grundsàtzlich >bôsepolitischenpolitischen TheologieBegriff des Politischen* eine konzeptionelle Einheit. Wesentlich für die Perspektive von Schmitt ist, dass von Extremsituationen ausgegangen wird, in denen dasjenige sichtbar werden soli, was das politische Leben eigentlich bestimmt. Diese Frage nach dem Eigentlichen, das hinter den vielen Formen des politischen Lebens stehe, versteht sich daher aIs eine metapolitische Betrachtung, die nach den Bedingungen fragt, in denen politisches Handeln erfolgen kann, ja durch die das Politische als Unterscheidung polarer Gegensàtze von Freund und Feind überhaupt erst moglich wird. Darin liegt natürlich auch der Anspruch, metahistorische Aussagen treffen zu kônnen. So verwundert es nicht, dass Schmitt nicht beim ersten Ausnahmezustand der europâischen Geschichte in der Franzosischen Revolution stehen bleibt8, sondem Evidenzen seiner Theorie auch aus der Antike aniührt. Ausgehend von solchen grundsàtzlichen Fragen zum Politischen hat der Begriff des Ausnahmezustandes jüngst im Werk von Giorgio Agamben über den homo sacer wiederum eine besondere Bedeutung erfahren. Denn hier erfüllt die juristisch-politische >Ausnahme*, die durch die Verhàngung des Ausnahmezustandes zu einer politischen Handlungsoption wird, die Funktion eines »Dispositivs«9, in welchem der Staat als Handelnder jenseits der Fegalitat das Leben in seiner grundlegenden politischen Bedeutung zu regeln strebt. Es zeigt sich also am Ausnahmezustand, wie sich das Recht bzw. die Gewalt des 7C. Schmitt, Politische Théologie: Vier Kapitel zur Lehre von der Souverânitàt, 1922, zit. Nach der 6. Aufl. (Berlin: Duncker & Humblot GmbH, 1993). 8S. u. Anm. 26. 9In seinem Aufsatz -Was ist ein Dispositiv?« (G. Agamben, Was ist ein Disposi­ tive (Zürich/Berlin: Diaphanes, 2008)) erlàutert Agamben die Verwendung des Begriffes bei Foucault als >Arrangement* oder *Gefuge*; Agamben erweitert nun die Bedeutung auf >Netz zwischen Kràften, Praktiken, Diskursen etc.*, als ein -strategisches Ensemble von Macht- und Wissensverhaltnissen**. Der Begriff hat eine lange philosophische Tradition, besonders intensiv wurde er in den 60er und 70er Jahren diskutiert (Foucault, Deleuze, Lyotard, Althusser, auch Heidegger). Agamben selbst entwickelt ein >Dispositiv* der >Logik der Ausnahme* auf der Grundlage der paradoxen Phanomene der -einschlieBenden Ausschliefiung** und der -ausschlieBenden EinschlieBung**. 30 RHETORICA Souverâns auf das auswirkt, was durch Gesetz oder Gewalt gelenkt wird, nàmlich das Lebendige alsfactum brutum des Politischen. Man kann dieses Verhàltnis nun auch als eines von Recht und politischer Faktizitât fassen. Agamben formuliert prâgnant: „[. . .] der Ausnahmezustand zeigt sich dann als die legale Form dessen, was keine legale Form annehmen kann."10 Er beschreibt mit dieser Form eines paradoxen Sachverhalts (Legalitât/Illegalitât) genau jene Funktion , in der der Souverân sich über das geltende Recht stellt, um dieses geltende Recht selbst zu schützen. Der Ausnahmezustand ist somit als ein Aufien des Rechts charakterisiert: „AuBerhalb der Rechtsordnung zu stehen und doch zu ihr zu gehôren: das ist die topologische Struktur des Ausnahmezustands, und insofem der Souverân, der über die Ausnahme entscheidet, in seinem Sein durch diese Struktur logisch bestimmt ist, kann er auch durch das Oxymoron einer Ekstase-Zugeh ôrigkeit charakterisiert werden.11 * " Der Ausnahmezustand als ein Zustand in extremis geht daher dem Begriff des Souverâns voran. Es ist nicht eigentlich so, dass der Souve­ rân den Ausnahmezustand macht oder ausruft, sondem im Ausrufen des Ausnahmezustandes zeigt sich die absolute Macht des Souverâns, der, vom AuSen des Rechts kommend, diesem seinen Schutz verleiht . Es ist also eine Kraft, die sich auf ein schon ausgesetztes Gesetz berufen muss. Tnsofern kann der Ausnahmezustand nur Erlasse geben, die verhângt werden, und nicht eigentlich Gesetze dekretieren. Die Norm des Rechts behâlt zwar grundsâtzlich eine Geltung, doch wird sie nicht angewandt; sie ist vielmehr...

108 RHETORICA numbering is still useful; Behr edited orations 1—16 in 1968 and Keil in 1898 (reprinted) edited 17-52. In addition Behr in 1981-86 translated all the works of Aristides in 2 volumes. Raffaella Cribiore, New York Richard Leo Enos, Greek Rhetoric Before Aristotle. Revised and Expanded Edition. Anderson, SC: Parlor Press, 2012. 272 pp. Cloth: $60. Paper: $32. Adobe ebook: $20. ISBN-13: 978-1-60235-212-4. When Greek Rhetoric Before Aristotle's first edition was released in 1993, the reviews were not flattering. Carol Poster's review in Rhetoric Society Quar­ terly (26.3) called the book, "quite disappointing, containing little information that is not readily available in the libraries of most research universities." Similarly, William W. Fortenbaugh, writing in Philosophy and Rhetoric (28.2) notes that "Enos's discussion of Homer and the rhapsodes disappointed me, despite the fact that I am no expert in Homeric questions." The early cri­ ticisms of the book seem unduly harsh considering the territory Enos is exploring. Fortenbaugh, for instance, sums it up nicely as "for it [Enos's book] confronted me with material either long forgotten or rarely considered," but then drops this consideration from his critique. What Poster and Fortenbaugh did not recognize at the time was that Richard Leo Enos was planting the seeds of his theory of Archaeological Rhetoric. Enos begins his theory in the first edition of Greek Rhetoric Before Aristotle and expands this idea in several iterations leading to the expanded and revised second edition. In his 2002 article in RSQ (32.1), "The Archae­ ology of Women in Rhetoric: Rhetorical Sequencing as a Research Method for Historical Scholarship," Enos argues that research needs to cut through "pedantic refinery, exhibiting two traits essential to research: a passion for discovering primary sources and the cavalier, but resourceful, methods by which they go about solving their research problems." It is in this spirit that the Revised and Expanded edition attempts to reinterpret early Greek rhetorical tradition through archaeological and epigraphical evidence—and in cultural context. This is exactly what the Revised and Expanded edition addresses. In the nineteen years since the original edition was published, Enos refined his theory of Archaeological Rhetoric. The new edition is almost twice the length of the original and attempts to answer the criticisms of the earlier edition. What early critics misunderstood was that Enos was not attempting to be comprehensive in his chapters, he was attempting to redefine method in rhetorical inquiry. Expanded from the original five, Greek Rhetoric Before Aristotle's nine chapters are loosely chronological following his theory of Archaeological Rhetoric, including a strong bibliography developed since the initial volume. It is, of course, impossible to fully represent every aspect of Enos's arguments and examples here, but several high points are worth noting. Reviews 109 The first two chapters consider the development Homeric literature as a discourse genie spread by the Greek rhapsodes. Enos explains that once this body of knowledge was created, the discourse modes of heuristic, eris­ tic, and protreptic were needed to expand and recite the hymns. His discus­ sion of the rhapsodes better explains the shift in Greek culture from true orality to a written medium. Using archaeological examples, Enos examines inscriptions that explicit archaeological evidence, predating Homer by sev­ eral hundred years, reveals that this early form of paragraph was already being standardized within an oral culture" (49). These examples of written text were actually attempts to quantify elements already deduced in speech. Chapters III through V explore the problem in studying Hellenic rhetoric: scholars often assume that rhetorical acts were practiced only by the educated few. Professor Enos argues that during this era craft and functional literacy was widespread. Given the emerging development of alphabetic systems, the ability to decode was readilv available. His archaeological evidence is intrigu­ ing to the growing functional literacy among the tradesmen of the polis, such as the recording of votes bv citizens on potsherds, or ostraca. Chapter IV and V are perhaps the most interesting chapters in the volume. Sicily's "rhetorical climate" (97) is important because it frames the contributions of Corax and Tisias, and the importance of Gorgias to the...

I argue that Philip's speech was a central point of contention in the debate over the Peace of Philocrates and in the legal struggle between Demosthenes and Aeschines that followed it. The ambassadors supportive of the peace praised Philip's speaking ability as part of his philhellenism; in his defense speech as well Aeschines emphasized Philip's rhetorical knowledge in order to show the openness of the contest between the king and the ambassadors. Demosthenes, on the other hand, rejected the king's ability to speak. In so doing, he elevated his own role as the only orator capable of penetrating Philip's silence. For both Aeschines and Demosthenes, their characterizations of Philip's speech were crucial to their self-presentations as orators.

Book Review| November 01 2015 Review: [Quintiliano], L'astrologo (Declamazioni maggiori, 4), by Antonio Stramaglia and e [Quintilien], Le tombeau ensorcelé, (Grandes déclamations, 10), by Catherine Schneider [Quintiliano], L'astrologo (Declamazioni maggiori, 4), a cura di Antonio Stramaglia. Cassino : Edizioni dell'Università degli Studi di Cassino, 2013, 251 pp. ISBN 9788883170713e [Quintilien], Le tombeau ensorcelé, (Grandes déclamations, 10), a cura di Catherine Schneider. Cassino: Edizioni dell'Università degli Studi di Cassino, 2013, 359 pp. ISBN 9788883170683 Alessandra Rolle Alessandra Rolle Université de Lausanne Institut d'archéologie et des sciences de l'Antiquité Latin Quartier UNIL-Dorigny Bâtiment Anthropole, Bureau : 4018 CH-1015 Lausanne Alessandra.Rolle@unil.ch Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2015) 33 (4): 433–437. https://doi.org/10.1525/rh.2015.33.4.433 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Alessandra Rolle; Review: [Quintiliano], L'astrologo (Declamazioni maggiori, 4), by Antonio Stramaglia and e [Quintilien], Le tombeau ensorcelé, (Grandes déclamations, 10), by Catherine Schneider. Rhetorica 1 November 2015; 33 (4): 433–437. doi: https://doi.org/10.1525/rh.2015.33.4.433 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2015 Review: Deep Rhetoric: Philosophy, Reason, Violence, Justice, Wisdom, by James Crosswhite James Crosswhite, Deep Rhetoric: Philosophy, Reason, Violence, Justice, Wisdom. Chicago: University of Chicago Press, 2013. Pp. 424. Cloth $105.00, paper $35.00 ISBN (paper) 9780226016481 Gerard A. Hauser Gerard A. Hauser Department of Communication 270 UCB University of Colorado at Boulder Boulder, CO 80309-0270, USA gerard.hauser@colorado.edu Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2015) 33 (4): 437–440. https://doi.org/10.1525/rh.2015.33.4.437 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Gerard A. Hauser; Review: Deep Rhetoric: Philosophy, Reason, Violence, Justice, Wisdom, by James Crosswhite. Rhetorica 1 November 2015; 33 (4): 437–440. doi: https://doi.org/10.1525/rh.2015.33.4.437 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Other| November 01 2015 Index to Volume 33 (2015) Rhetorica (2015) 33 (4): 443–447. https://doi.org/10.1525/rh.2015.33.4.443 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Index to Volume 33 (2015). Rhetorica 1 November 2015; 33 (4): 443–447. doi: https://doi.org/10.1525/rh.2015.33.4.443 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2015 Review: A City of Marble. The Rhetoric of Augustan Rome, by Kathleen S. Lamp Kathleen S. Lamp. A City of Marble. The Rhetoric of Augustan Rome. South Carolina, 2013. 208 pp. ISBN 9781611172775 Steve Rutledge Steve Rutledge Sheridan, Oregon 17220 Pleasant Hill Road Sheridan OR 97378 shr@umd.edu Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2015) 33 (4): 431–433. https://doi.org/10.1525/rh.2015.33.4.431 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Steve Rutledge; Review: A City of Marble. The Rhetoric of Augustan Rome, by Kathleen S. Lamp. Rhetorica 1 November 2015; 33 (4): 431–433. doi: https://doi.org/10.1525/rh.2015.33.4.431 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Chaucer's Wife of Bath's Tale has been well-mined for feminist and psychological issues but less criticism has analyzed the rhetorical techniques informing the wyf's bedside harangue to the knight. These are shown to echo that of Lady Philosophy to Boethius in Chaucer's Boece; close reading of the lecture reveals a patterning on Boece, particularly evinced in the similarities between Lady Philosophy and the foul wife, in the matches in argumentation and rhetorical devices, and in the harangue's emphasis on power and obedience. Whether meant seriously or to humorously imitate scholastic debate, the foul wife's questio suggests new questions about Chaucer's intentions and purposes in the tale. 6633 words.

Modern readers have been baffled by the combination of legal, dramatic, and theological elements in the 14th century Processus Sathanae, a mock trial drama in which the devil's advocate and the Virgin Mary employ various Roman law concepts in a courtroom debate regarding the devil's claim that he was wrongfully dispossessed of humanity. This article examines the Processus Sathanae along with an early source of the drama in a Marcionite creation dialogue and argues that by foregrounding equitable and emotional appeals the drama taught late medieval law students important lessons regarding legal oratory during a crucial period in the development of European jurisprudence.

Book Review| November 01 2015 Review: Forensic Shakespeare, by Quentin Skinner Quentin Skinner, Forensic Shakespeare (Oxford, Oxford University Press, 2014), 368 pp. ISBN: 978-0199558247 Joanne Paul Joanne Paul New College of the Humanities 19 Bedford Sq London WC1B 3HH Joanne.Paul@nchum.org Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2015) 33 (4): 440–442. https://doi.org/10.1525/rh.2015.33.4.440 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Joanne Paul; Review: Forensic Shakespeare, by Quentin Skinner. Rhetorica 1 November 2015; 33 (4): 440–442. doi: https://doi.org/10.1525/rh.2015.33.4.440 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

Riassunto: Cominciando dall'intrigante, per il lettore, descrizione del locale del primo Discorso, il De vulgari eloquentia di Dante Alighieri (c. 1304–1305) conduce chi lo legge attraverso una serie di ambigui commenti sui luoghi e spazi (curia, aula) legati al vernacolo illustre. Questo crea nuovi spazi linguistici nell'immaginazione del lettore: cammini paralleli del pensiero, congetture, suspence. Il presente saggio intende sostenere che l'affermazione e susseguente negazione – o denarrazione – dei luoghi, più o meno concreti, trasferisce la discussione di Dante, e ugualmente la lingua discussa, in uno spazio più astratto, dove la formalizzazione del volgare, o vernacolo illustre, si realizza. L'ingegnosa funzione degli spazi alternativi che emerge risulta essere sotto stimata se essi devono essere ridotti puramente al risultato di singole metafore o alla riluttanza di Dante a prendere posizione in una controversia di carattere teologico sull'origine del linguaggio. Una simile variante di narrazione non affermativa rende possibile a Dante di assegnare all'illustre vernacolo un somigliante vuoto ontologico tra l'essere e il non essere come nel caso del riferimento biblico alle prime lingue umane. L'ambiguo spazio che di conseguenza risulta essere creato per il volgare illustre è il luogo dove il volgare può essere soggetto alla razionale investigazione dantesca.