Reviewed by: Ramus, Pedagogy and the Liberal Arts: Ramism in Britain and the Wider World ed. by Stephen J. Reid and Emma Annette Wilson Maureen Fitzsimmons Stephen J. Reid and Emma Annette Wilson, eds., Ramus, Pedagogy and the Liberal Arts: Ramism in Britain and the Wider World (Ashgate) 2011. 256 pp. ISBN: 978-0-7546-6794-0 Maureen Fitzsimmons University of California, Irvine Copyright © 2014 by the International Society for the History of Rhetoric. All rights reserved

Reviews 79 a peisuadere i secondi di esseie "uguale a loro", a prescindere dalle proprie posizioni programmatiche o di policy. Se queste sono le coordinate che orientano la scelta dei discorsi contenuti nell antología, per due sostanziali ragioni Popera risulta estremamente utile per gli studiosi di retorica e di comunicazione política: 1) nell'investigare il rapporte tra política e letteratura, GP prende in considerazione entrambi i \eisanti e, soprattutto, non manca di rilevare la necessitá di ancorare la descrizione del linguaggio politice ai dinamismi della lotta per il potere. Tale connessione non compare sempre esplicitamente nel volume, ma eviden­ temente orienta tanto I'argomentazione che da linfa al saggio introduttivo, quanto la medesima scelta dei discorsi che compongono l'antologia; 2) il valore intrínseco del volume appare irriducihile alia mera documentazione; al contrario, i testi raccolti da GP lungo 150 anni di storia unitaria, cosí come le note che li introducono e la bibliografía ragionata alie pp. 853-864, costituiscono un prezioso materiale suscettibile di essere organizzato secondo categorie interpretativa, approdando a enllocare le specie di oratoria política storicamente osserx ate entro le magüe di una tipología del discorso político. Flavio Chiapponi Pavia Laurent Pernot (sous la direction de), La rhétorique des arts. Actes du colloque tenu au Collège de France sous la présidence de Marc Fumaroli, de l'Académia française: Paris, Presses Universitaires de France, 2011. X + 228 pp., ISBN: 978-2-13-058497-1 Il volume raccoglie gli atti del convegno organizzato nel 2009 al Collège de France dalla sezione tráncese dellTSHR. Scopo del convegno, come precisa Laurent Pernot neWAvant-propos (pp. V-VII), era di mettere in relazione le belle arti con la retorica; lungi dall'essere una disciplina scolastica o arida, la retorica si rivela tanto ^une référence parbgée, un répertoire de thèmes et de formes d'expression, une langue commune favorisant le dialogue entre les disciplines—philosophie, littérature et arts—voire un principe unificateur des arts—peinture, sculpture, architecture, musique, théâtre, dancQ» (p.VI). Se oratori e teorici della retorica si sono interessati alie arti, la retorica ha esercitato un'influenza sulle arti, giocando il ruolo di paradigma estético e intellettuale. La riflessione si articola su un lungo periodo che tocca Lantichita greco-romana, il Medio Evo occidentale e bizantino, il Rinascimento, 1 età moderna e contemporánea. Marc Fumaroli (La rhétorique et les arts, pp. 1-9) introduce i lavori, con una riflessione sulla caratteristica del pensiero greco di ricercare «les moyens de rétablir une harmonie de contraires qui, dans le temps terrestre, tend sans cesse à se décomposer par défaut ou par excès» (pp. 2-3), ben espressa da un passo di Galeno su armonía e Canone di Policleto, ripreso da uno studio di 80 RHETORICA Anne-Gabrièle Wersinger;1 è proprio la ricerca dell'armonia alla base di quella paideia greca che verrà ripresa dal Rinascimento e consegnata all'Europa moderna. Laurent Pernot (Phidias à la barre, pp. 11-43) prende in esame la ricezione nell'oratoria e nella retorica della figura dello scultore ateniese Fidia, artista famoso dell'età di Pericle (i cui capolavori erano le due statue colossali di Atena e Zeus, degli anni 440-430), ma anche controverso e fatto oggetto di accuse diverse dopo essere caduto in disgrazia. Pernot esamina dapprima le diverse testimonianze antiche sulle statue2 (anche alia luce di 8 illustrazioni ), alia ricerca degli elementi sui quali si fondava la reputazione di Fidia, considerato come «le sculpteur des Immortels, Yhomme qui représentait les dieux» (p. 17), il che dará luogo a numeróse riflessioni di ordine estético e religioso presso autori greci e latini; passa, quindi, ad una stimolante disamina delle fonti retoriche greche e latine di ge­ nere diverso su Fidia: una controversia (VIII 2) di Seneca il retore sul caso giudiziario del processo a Fidia e sulla mutilazione delle mani inflittagli; una declamazione tradita daWAnonymus Seguerianus (216), nella quale ci si riferisce al processo a Fidia in modo allusivo, a riprova che si trattava d'un soggetto tradizionale; un discorso di Dione di Prusa...

Durant les dernières décennies, la recherche sur la rhétorique en Bulgarie s’est intensifiée, ce qui est la conséquence à la fois de l’intérêt porté à la rhétorique sur le plan international et de raisons propres à l’histoire du pays. Les chercheurs bulgares ont réexaminé divers aspects du discours et ont ouvert de nouveaux champs d’enquête et de publication. Le présent article propose un panorama des progrès récents de la recherche bulgare dans le domaine de la rhétorique ancienne et moderne, depuis l’Antiquité gréco-romaine et orientale jusqu’à la période contemporaine, et présente un choix de publications parues dans ce domaine.

Reviews 85 Paddy Bullard, Edmund Burke nud the Art of Rhetoric, Cambridge: Cambridge University Press, 2011. 272 pp. ISBN 978-1-107-00657-7 In Edmund Burke and the Art of Rhetoric Paddy Bullard "proposes a theory of Burke's rhetoric" (p. 3). Bullard approaches the question "of the artfulness with which Burke wrote and spoke" (p. 21) not by superimposing the \ ocabularv of classical rhetorical handbooks on Burke's performances; not by using Burke's A Philosophical Enquiry into the Sublime and Beautiful as a source of technical, critical vocabulary; but bv looking to Burke's oeuvre to identify the rhetorical questions that preoccupied Burke and how he addressed the questions throughout his career. Readers will witness enactment of Burkean rhetorical virtues as Bullard examines Burke from perspectives as broad as classical and early modern thinking about rhetoric, to the practical occasions and stakes of Burke's political writing and speaking, to the textual dynamics of his rhetoric. The result is a compelling analysis of Burke's rhetoric that deserves to be read by scholars of eighteenth-century rhetorical theories and practices, and by any scholar interested in generating theory based on practice—indeed anv scholar who wants to read exemplary rhetorical criticism. Broadly speaking, the central question or issue that preoccupies Burke is the nature of the speaker-audience relationship. Bullard describes Burke's rhetoric as a "rhetoric of character," concerned with "who is addressing whom, on behalf of whom" (p. 5; see also pp. 7, 11). Bullard captures the dynamic nature of the relationship when he describes Burke's art of rhetoric as "an art of moral equipoise" (p. 10; see also p. 22). Put differently, "A well-established ethos giv es a speaker licence to be urgent, to abjure false delicacy, and to resist neutrality, and it allows him to do all this without renouncing the claims of equity" (p. 9). The speaker earns the audience's trust by displaying knowledge of characters and his own political judgment, and the audience grants the speaker a license to advocate with zeal. Bullard develops his analysis and argument in an introduction, six chapters, and a conclusion. In the introduction Bullard defends his objects of study and critical vocabulary. He chooses to focus on "the relatively small number of treatises and speeches that Burke authorized as his own (either through publication or private endorsement), while the texts of his publicly reported speeches are treated with caution" (p. 21). Readers will almost certainly find the arguments for the selection to be sound, the central one being that Burke calls for attention to, and Bullard attends to, stylistic detail because this is where the action is—where audiences experience rhetorical effects. In chapters 1 and 2, Bullard covers standard topics in writing the history of rhetoric, namely Burke's intellectual context for thinking about rhetoric and the place of rhetoric in Irish education. This is not a routine history of rhetoric that broadly covers the usual suspects but instead focuses on clas­ sical, seventeenth-century and contemporary writers who explored the idea that is at the heart of Burke's rhetoric of character: that orators are best able to 86 RHETORICA secure a good moral character in the minds of their audience by demonstrat­ ing their understanding of what moral character is" (p. 28). Bullard covers Aristotle's treatment of rhetorical ethos and its guises in Roman thinkers in­ cluding Cicero and Quintilian. He uses Locke as a critical prompt to discuss writings by Hobbes, Edward Reynolds, and La Bruyère and to trace "how the rhetorical category of ethos returned to relevance during the seventeenth century as part of a popularized prudential moralism" (p. 42) in history, psy­ chology, and character-writing. He traces the Aristotelian model's adaptions in writings about pulpit eloquence and their secular processes in Shaftesbury and Smith. Similarly, the history of eighteenth-century rhetoric education among English speakers is not commonplace but instead advances the claim that "there are several important respects in which the Irish, rather than the Scots, should be seen as the real pioneers of this new development ["the study of literature in modern vernacular languages"] in the art of rhetoric" (p...

El 13 de julio de 1556 moría Philibert de Rye, obispo de Ginebra. Un grupo de eruditos relacionados con la Universidad de Dola le tributó un homenaje literario, entre cuyos textos destacamos una elegía dialogada, desarrollada en dísticos elegíacos, obra del humanista Antonio Llull, texto que no recoge ninguno de los repertorios de la producción de este tratadista mallorquín. En este artículo estudiaremos este poema por primera vez, tanto en lo referente a sus fuentes y sus antecedentes literarios, como a la luz de los tratados de Llull <i>Progymnasmata rhetorica</i> (1550/1551/1572) y <i>De oratione libri septem</i> (1558).

88 RHETORICA who seek a history of rhetorical theory that teaches, delights, and moves will find it here. Beth Innocenti University ofKansas William Pallister, Between Worlds: The Rhetorical Universe of Paradise Lost (Toronto: University of Toronto Press, 2008). ISBN 978-0-80209835 -1; Daniel Shore, Milton and the Art ofRhetoric (Cambridge: Cam­ bridge University Press, 2012). isbn: 978-1-107-02150-1 Two books published in the last few years each have much to offer on the subject of how the English poet and statesman John Milton (1608-74) employed rhetoric in his various works and particularly in his epic poem Paradise Lost. William Pallister reminds or perhaps informs Miltonists of the centrality of rhetoric in the Renaissance and its utility both for persuasion and morality. He argues that contemporary criticism has overlooked the formal poetic and rhetorical presentation of Milton's ideas (7-8). Pallister's particu­ lar focus is Paradise Lost and the rhetorical issue of future contingency, which he traces through Milton's epic poem in terms of three distinct rhetorics, of hell, of heaven, and of paradise, the paradisal one being the most rhetorical because the most contingent. Pallister divides his book into two equal halves. His first five chapters are heavily documented demonstrations of Renaissance rhetoric, its clas­ sical roots, and Milton's engagement with it. In chapter one, Pallister first identifies contingency and probability as key issues in deliberative rhetoric and locates their discussion in such authors as Augustine, Boethius, Ock­ ham, Aquinas, Valla, Pomponazzi, Erasmus, Luther, and Calvin. He then demonstrates how Milton's theological concerns for free will in Paradise Lost are reflected in his preservation therein of future contingency. Chap­ ter two surveys the classical rhetoricians who had written on contingency, such as Isocrates, Aristotle, and Cicero, since Milton cites these authorities in his short pedagogical tract, Of Education (1644) rather than any of the educational theorists of his own period. Chapter three surveys Renaissance rhetoric in terms of its focus on eloquent style and its prescribed utility in politics, ethics, poetry, and theology, and in chapter four demonstrates how Milton's own prose identifies eloquence as "none . . . but the serious and hearty love of truth" (80; An Apology against a Pamphlet, Yale Prose 1: 948-49), a love that Pallister associates with Milton's "humanistic faith in the power of eloquence to captivate its audience and compel them to accept Christian values" (10). Chapter five considers rhetoric's relation to Christian theology and particularly the Bible as a rhetorical text, preaching as a rhetorical art, and God as a rhetorical and especially a poetic speaker. Reviews 89 With this foundation laid, Pallister proceeds in the second half of his book to investigate the rhetorical nature of Paradise Lost. In chapter six, he takes us to the poitions of Milton s epic that take place in heaven. Since there is little contingency possible in God's omniscience, the master tropes of hea\ en aie polugtoton and especiallv conduplica110, and the favored genus dieendi is epideixis, especially praise. Chapter seven surveys Satan's presentation as an orator in various authors before and including Milton, whose Satan is an accomplished orator, and chapter eight identifies the master trope of hell as demotes, or rhetorical cleverness, by which Satan not only deceives others but “tricks himself into seeing a contingent future that no longer exists for the defeated angels" (176). Chapters nine and ten treat rhetoric in the Carden of Eden, “the hub of Milton's rhetorical universe, [where] the theological, dramatic, and discursive conditions exist for rhetoric to thrive on all levels" (197) and where it comes most into its own as a agent of moral persuasion in the psychomachia of man's inner being (198). Pallister's text is a manifestly learned, monograph-length discussion of how Renaissance rhetoric, and particularly deliberative rhetoric, informs the greatest epic in the English language. Elis volume is well worthy to have won the Modern Language Association of America's Prize for Independent Scholars in 2009. Like all sublunary publications, however, it is not always perfect. Its extensive surveys in the first half are sometimes more trees than forest and might have benefitted from more signposting...

In Golden Age Spain, religious art functioned within the boundaries of a time-honoured corpus of ecclesiastical and rhetorical theory on the image, which attempted to prevent immoderate iconic veneration aided by metaphors taken from the well-known world of portraiture, the most imitative of pictorial genres. Counter-Reformation theologians and preachers also sought to reduce the artwork’s impact on irrational sensibility by urging artists to avoid the undesirable effects of awkward or lascivious images. This article will explore how the laws of decorum equipped Post-Tridentine Spanish imagery with aesthetic values meant to reconcile delectare with docere and movere, and how this finally resulted in a dispute between high culture and popular taste, between an art favored by royal collectors (painting) and another much more generalized as a result of ecclesiastical patronage (sculpture).

Reviews Gabriele Pedidla (a cura di), Parole al potare: Discorsi politici Italian!, Milano: Rizzoli BUR, 2011. CCXXII + 870 pp. ISBN 978-88-17-02520-1 The review of this volume was commended to the late Giorgio Tedel (1950- -2011), Professor of Political Communication at the University ofPavia. One ofthe youngest of his colleagues accepted to write the review, which is dedicated to the memory of Giorgio Fedel [note of the Associate Editor]. Tema del volume sono le peculiarita del linguaggio della leadership politica in Italia, analizzate attraverso una corposa rassegna di 61 discorsi pronunciati alia Camera dei Deputati dalle principali personality che hanno ricoperto ruoli di vertice, dall'Unita all'avvio della "Seconda Repubblica" (1994). In questo settore di ricerca, se, per un verso, numeróse indagini hanno isolate alcuni attributi specifici dell'oratoria politica in corrispondenza delle differenti scansioni storiche (una retorica Iontana dal discorrere quotidiano della grande maggioranza dei sudditi del Regno in época post-unitaria, oppure il crescente ricorso al cosiddetto "politichese" da parte dei leaders dei partiti di massa, specialmente democristiani, negli anni Sessanta e Settanta del Novecento); vanno anche sottolineati, nonostante la ricchezza delle informazioni , il ridotto tasso di interdisciplinarietà nello stesso prolifico filone di studi e la scarsa cumulatività dei risultati ottenuti. All'interno di questo quadro, il volume curato da Gabriele Pedullà (d'ora in poi GP) prefigura meritoriamente un significativo avanzamento verso la costruzione di una tipología del discorso politico in grado di tagliare trasversalmente rispetto ai confini disciplinari. Lo testimonia l'articolato saggio che introduce l'antologia dei testi, Breve storia dell'oratoria politica nelTItalia imita (pp. IX-CCXXII). Al centro dell'interesse di GP sta il rapporto tra letteratura e politica, focalizzato sull'oratoria politica qua genere letterario. Grazie a tale punto di vista, GP documenta l'affiorare di una pluralité di fenomeni comunicativi: 1) l'ambizione dei politici a padroneggiare la lingua italiana alia maniera dei classici, cioè a plasmare un discorso rispondente ai canon; stilistici propri dell'opera letteraria di pregio; 2) il progressivo distacco della classe politica repubblicana dai topoi dell'arte declamatoria; infine, negli sviluppi piú recenti, 3) la vacuité della retorica politica denunziata degli intellettuali, ovvero 4) il drástico mutamento di contenuto e modalité di trasmissione dei Riietorica, Vol. XXXII, issue 1, pp. 75-99, ISSN 0734-8584, electronic ISSN 15338541 . 02014 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpressjournals.com/reprmtlnfo.asp. DOI. 10.1525/RH.2014.32.1.75. 76 RHETORICA messaggi politici destinati ai cittadini, per effetto della tecnología applicata alie comunicazioni. In questa successione di eventi, la cesura fondamentale è rappresentata dalla seconda guerra mondiale: dal 1861 al 1945 si dispiega una lunga fase il cui denominatore comune risiede nell'intendere la "politica corne lettera­ tura", secondo un duplice significato, l'uno particolare e l'altro generale. Cominciando dal primo, GP allude alla frequenza eccezionale con la quale, in questo arco temporale, eminenti figure di letterati e di artisti apparvero sul proscenio politico, per nomina regia al Senato (Manzoni, Verdi, Carducci, Fogazzaro e Croce, tra gli altri) oppure attraverso la discesa diretta nell'agone e Felezione alia Camera (da De Sanctis a D'Annunzio). Si tratta di conseguenze della politica di massa post-Rivoluzione Francese, che implica sia lo slittamento del potere decisionale dalla corte all'assemblea deliberante (Parlamento), sia il mutamento nei criteri di selezione áe\Yélite (dal favore del sovrano alia regola elettorale, che rende decisiva la capacité di conquistare il sostegno dei votanti). Entro i confini nazionali, entrambi i dinamismi si palesarono con inedita forza all'indomani della proclamazione del Regno d'Italia: richiamando il dispregio con il quale Max Weber qualificava il connubio tra lettere e politica (nei termini di "ascesa del de­ magogo"), GP descrive con dovizia di particolari la raffinata eloquenza con la quale scrittori, poeti e artisti approdarono al seggio parlamentare, "Tutti certamente giunti a guadagnarsi la fiducia dei votanti anche grazie alie doti di fini dicitori" (p. XXIV). Agli albori della nostra storia unitaria, i confronti verbali ospitati...

Ancient Greek and Roman compositional instruction, as evidenced in Greek handbooks on the progymnasmata and Quintilian's Institutio Oratoria, included a strong moral component. The importance of moral pedagogy to ancient teachers and theorists is seen not only in the themes and contents of the exercises, but also in their sequencing and justification.

Reviews 91 my own undergraduate teaching, especially Pallister's idea that there are master tropes for heaven, hell, and paradise and Shore's denial that Milton engages in iconoclasm, and I have recommended the full texts to my graduate students. Historians of rhetoric at any institution that regularly teaches Milton or his period would do well to order copies for their libraries and also to consider acquiring copies for themselves. Jameela Lares The University of Southern Mississippi The Complete Prose Works ofJohn Milton, ed. Don M. Wolfe, 8 vols. (New Haven: Yale University Press, 1953-82); Raphael Lyne, Shakespeare, Rhetoric and Cognition, Cambridge: Cambridge University Press, 2011. 267 pp. ISBN 978-1-107-00747-5; Jenny C. Mann, Outlaw Rhetoric: Fig­ uring Vernacular Eloquence in Shakespeare's England, Ithaca and Lon­ don: Cornell University Press, 2012. 249 pp. ISBN 978-0-8014-4965-9; Lynn Enterline, Shakespeare's Schoolroom: Rhetoric, Discipline, Emotion, Philadelphia: University of Pennsylvania Press, 2012. 202 pp. ISBN 978-0-8122-4378-9; Garry Wills, Rome and Rhetoric: Shakespeare's Julius Caesar, New Haven and London: Yale University Press, 2011.186 pp. ISBN 978-0-300-15218-0 Once upon a time (or so the story goes), the study of language and rhetoric in Shakespeare and Renaissance literature was dominated by con­ siderations of style, and style meant especially figurative language. Since then, a generation or two of critics including Joel Altman, Marion Trousdale, Thomas Sloane, Wayne Rebhorn, Frank Whigham, Victoria Kahn, Lorna Hut­ son, Peter Mack, and Lynne Magnusson have shown the importance for early modern literature and culture of a richer conception of rhetoric, one which understands rhetoric as a vital contributor to a wide range of intellectual, political, and social processes and agendas. In view of this work, one could be forgiven for suspecting that the prominence of figuration in the latest crop of books on rhetoric and the literature of Shakespeare's England means that literary criticism is doing the time warp again. As we will see, however, this is not quite your grandparents' rhetorical criticism, though the intervening years have changed less than one might have expected. The first of the four books under review here, Raphael Lyne's Shakespeare, Rhetoric and Cognition argues that rhetoric in Shakespeare is a means not only of presentation and persuasion but also of thought. By "rhetoric" Lyne means primarily tropes, or figures of thought. He grounds this argument in recent research in cognitive linguistics, which probes the relationship between language (especially metaphor) and cognitive processes in the brain, and he devotes a chapter to surveying both this work and a wide range 92 RHETORICA of studies that find similar links between rhetoric, literature, and thought. Another chapter argues that early modern rhetoric manuals implicitly tie tropes such as metaphor and synecdoche to mental processes and thus constitute a "proleptic cognitive science" (50). Lyne then illustrates his thesis in chapters on A Midsummer Night's Dream, Qymbeline, Othello, and the Sonnets, concentrating on the thought patterns found in ornate speeches delivered at stressful moments. He reads Dream as a study of how metaphor works, showing the different ways that characters and groups in the play try to make sense of their experience: "Characters think differently and therefore they speak differently" (129). His study of Cymbeline shows how its characters, faced with "secrets, revelations, and impossibilities," "struggle to find the tropes by which to understand their world" (158). Othello depicts a world debased by Iago's ability to transfer his "twisted cognitive patterns" (186) to others, causing "a kind of heuristic short-circuit, where rhetoric becomes self-fulfilling and inward-looking" (163). The Sonnets show that thought can happen outside dramatic characters, while confirming that rhetoric can bring "heuristic failure" (209) as well as success. As this summary suggests, I don't find a distinctive thesis about Shake­ spearean thought in this book, and in noting the many critics and rhetoricians who have connected literature and rhetoric to thought Lyne undercuts his claim to originality. Possibly Lyne means his contribution to lie less in his conclusions than in his method, for he begins the Dream chapter by claiming to have found "a different way of reading some...

We intend to carry out a comprehensive study of the use of the term λέξις in the rhetorical writings of Dionysius of Halicarnassus. We will investigate its different meanings and interconnections with λόγος As we will see, λέξις is still Dionysiuś preferred term when denoting expression or style, and, thus, he indicates an intermediate stage of evolution between that of Philodemus of Gadara and that of Ps. Longinus or Hermogenes: the latter in these cases have resorted to using λόγος, a non-marked term of opposition, something which would still have been unthinkable for Dionysius.

Three discourses of Aelius Aristides (or. 30–32 K.) set a model of the “young rhetor” built up with opposite instances of dynamism and stasis: on the one hand, the orator confirms his noble origins and education in appearing identical to his biological and cultural fathers; on the other one, as he undergoes a personal evolution, he tries to be better than them. Aristides, he himself a singular figure of master without ‘fathers’, cannot be surpassed, due to the favour which Asclepius has granted to him; however, the “young rhetores” of his time might have a chance to surpass the ‘fathers’ (i.e. rhetores) of classical Athens, provided that they receive the divine gift of rhetorics, which is superior to human arts.

Other| November 01 2013 Addresses of Contributors to This Issue Rhetorica (2013) 31 (4): 466–467. https://doi.org/10.1525/RH.2013.31.4.466 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 Addresses of Contributors to This Issue. Rhetorica 1 November 2013; 31 (4): 466–467. doi: https://doi.org/10.1525/RH.2013.31.4.466 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Notwithstanding the widespread assumption that Aristotle forges a better relationship among rhetoric, the emotions, and political morality than Cicero, I contend that Cicero, not Aristotle, offers a more relevant account of the relationship among these terms. I argue that, by grounding his account of emotional appeals in the art of rhetoric, Aristotle does not evade the moral problems originating in emotional manipulation. Moreover, Aristotle's approach to emotional appeals in politics is, compared to Cicero's, static, unable to adapt to new political circumstances. I suggest that Cicero's approach to the rhetorical emotions is more acceptable to a modern audience than Aristotle's because it is ethically based while also responsive to political realities. Cicero accommodates emotional appeals to circumstance based on his belief in decorum as a moral principle. Further, I show that emotional manipulation in Cicero is not as problematical as it initially appears.

Other| November 01 2013 Index to Volume 31 (2013) Rhetorica (2013) 31 (4): 461–465. https://doi.org/10.1525/RH.2013.31.4.461 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Index to Volume 31 (2013). Rhetorica 1 November 2013; 31 (4): 461–465. doi: https://doi.org/10.1525/RH.2013.31.4.461 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2013 Review: Nathan Crick, Democracy and Rhetoric: John Dewey on the Arts of Becoming by Nathan Crick Nathan Crick, Democracy and Rhetoric: John Dewey on the Arts of Becoming. Columbia, SC: University of South Carolina Press, 2010. 225 pp. ISBN 978-1-57003-876-1 Rhetorica (2013) 31 (4): 450–453. https://doi.org/10.1525/RH.2013.31.4.450 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Nathan Crick, Democracy and Rhetoric: John Dewey on the Arts of Becoming by Nathan Crick. Rhetorica 1 November 2013; 31 (4): 450–453. doi: https://doi.org/10.1525/RH.2013.31.4.450 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Nessuna classificazione, sia antica sia moderna, porta alla luce in modo adeguato la varietà di domande che Demostene utilizza nelle sue Filippiche. Lo scopo di questo lavoro è di esaminare l'analisi dell'utilizzazione delle domande nell'eloquenza greca e di elaborare una nuova classificazione che si basa sul lavoro dei retori antichi e studiosi moderni, ma mette in evidenza la diversità della prassi di Demostene e chiara come i diversi tipi di domande che egli usa nei suoi discorsi spesso riflettono l'approccio di tutto il discorso.

Book Review| November 01 2013 Review: A New History of the Sermon: The Nineteenth Century. Edited by Robert H. Ellison A New History of the Sermon: The Nineteenth Century. Edited by Robert H. Ellison. Boston & Leiden: Brill, 2010. xiv + 571. ISBN 978-9-00418-572-2 Rhetorica (2013) 31 (4): 447–450. https://doi.org/10.1525/RH.2013.31.4.447 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 Review: A New History of the Sermon: The Nineteenth Century. Edited by Robert H. Ellison. Rhetorica 1 November 2013; 31 (4): 447–450. doi: https://doi.org/10.1525/RH.2013.31.4.447 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2013 Review: Le poète irrévérencieux. Modèles hellénistiques et réalités romaines by Le poète irrévérencieux Le poète irrévérencieux. Modèles hellénistiques et réalités romaines, textes réunis par Bénédicte Delignon & Yves Roman, CEROR 32, CERGR, Lyon, 2009, 432 p. Rhetorica (2013) 31 (4): 454–456. https://doi.org/10.1525/RH.2013.31.4.454 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Le poète irrévérencieux. Modèles hellénistiques et réalités romaines by Le poète irrévérencieux. Rhetorica 1 November 2013; 31 (4): 454–456. doi: https://doi.org/10.1525/RH.2013.31.4.454 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2013 Review: Françoise Laurent, Pour Dieu et pour le roi. Rhétorique et idéologie dans l'Histoire des ducs de Normandie de Benoît de Sainte-Maure by Françoise Laurent Françoise Laurent, Pour Dieu et pour le roi. Rhétorique et idéologie dans l'Histoire des ducs de Normandie de Benoît de Sainte-Maure (Essais sur le Moyen Âge 47), Paris: Honoré Champion éditeur, 2010. 388 pp. ISBN 978-2-74532-041-4 Rhetorica (2013) 31 (4): 456–460. https://doi.org/10.1525/RH.2013.31.4.456 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 Review: Françoise Laurent, Pour Dieu et pour le roi. Rhétorique et idéologie dans l'Histoire des ducs de Normandie de Benoît de Sainte-Maure by Françoise Laurent. Rhetorica 1 November 2013; 31 (4): 456–460. doi: https://doi.org/10.1525/RH.2013.31.4.456 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

456 RHETORICA passant par Horace. Quant à Martial, s'il recourt, comme d'autres, à l'ironie, à l'ambivalence ou à une forme d'hyperbole qui dépasse le vraisemblable, c'est aussi par l'agencement même de ses poèmes que, dans le cadre d'une une lecture suivie, il permet de repérer la critique. Avec la partie sur l'Antiquité tardive, on est en plein dans la rhétorique. En effet les poèmes étudiés sont majoritairement des panégyriques ou des invectives, et les poètes en suivent scrupuleusement les codes. Tel est le cas de Claudien (Br. Bureau) et de Sidoine Apollinaire (R. Alexandre). Mais les choses, là encore, peuvent être retournées. L'irrévérence elle-même, ou plutôt l'invective, peut se retourner en éloge, comme dans le Contre Eutrope qui est en creux un éloge de Stilicon. Dans le panégyrique pour le sixième consulat d'Honorius l'irrévérence consiste simplement à exprimer des idées politiques et on obtient une sorte de miroir des princes, un portrait idéal de lui-même offert à Honorius pour qu'il s'y conforme. R. Alexandre présente une étude très intéressante du point de vue rhétorique sur trois panégyriques d'empereurs, montrant comment les circonstances extrêmes induisent une forme de réserve qui peut paraître irrévérencieuse. Sidoine gauchit les éléments traditionnels du panégyrique, retourne les exempta, mais surtout recourt à la prosopopée pour faire dire par d'autres ce qui est difficile à entendre. Le développement sur le discours figuré à propos du panégyrique de Majorien est, là encore, très bien venu. Des genres « mineurs » sont aussi pratiqués, où l'irrévérence se montre plus naturelle. Il s'agit d'une épigramme et une deprecatio de Claudien, dirigées contre un certain Hadrien (Fl. Garambois-Vasquez) et d'une épigramme d'Ausone que M. Squillante analyse comme «désémantisée» , le poète transformant l'irrévérence en pur jeu poétique. Une bibliographie, un index locorum et un index hominum complètent utilement cet excellent volume, qui touche à un enjeu central dans la rhéto­ rique: comment dire sans dire? Sylvie Franchet d'Espèrey Université de Paris-Sorbonne (Paris IV) Françoise Laurent, Pour Dieu et pour le roi. Rhétorique et idéologie dans l'Histoire des ducs de Normandie de Benoît de Sainte-Maure (Essais sur le Moyen Âge 47), Paris: Honoré Champion éditeur, 2010. 388 pp ISBN 978-2-74532-041-4 En 1999, Jean-Marie Moeglin rappelait dans un article de synthèse 1 histoire des rapports entre 1 «historiographie moderne et contemporaine en Reviews 457 France et en Allemagne» et «les chroniqueurs du Moyen Âge1 ». Dans cette histoire longue, il repérait l'émergence, très tardive en France, de 1 idée selon laquelle << l'analyse du 'travail de l'historien' a une valeur propre» (p. 327): de cette «vision neuve du texte historiographique» (p. 332), témoigna en particulier la parution (en 1980) du livre de Bernard Guenée, Histoire et culture historique dons l'Occident médiéval. D'autres travaux, et pas seulement en France, lui succédèrent, tous consacrés à la poétique spécifique mise en œuvre par l'historien médiéval, à sa pratique, à son statut et à celui de son texte. Ces tra­ vaux, attentifs à la logique propre de ces textes et de leurs conditions de production, ont pris pour objets tant la production latine que les productions en langue vernaculaire, qui la transposent et rivalisent avec elle ou entre elles. L'ouvrage de Françoise Laurent s'inscrit dans ces perspectives2 en s'intéressant hardiment, comme l'annoncent le titre et l'introduction, aux «choix idéologiques et rhétoriques» (p. 12) de l'«écrivain» Benoît de Sainte-Maure, qui à l'initiative d'Henri II Plantagenêt succède à Wace dans les années 1170 et écrit sa propre version de l'histoire des ducs de Normandie. Afin de replacer le texte dans son «contexte historico-littéraire» (p. 12), l'Auteur privilégie donc l'analyse conjointe de la « rhétorique » et de «l'idéologie», dimensions de l'œuvre dont la définition reste certes problématique. La dimension « rhétorique » semble bien référer ici à un ensemble de règles, dessinant une norme de l'art d'écrire nécessaire à une réception contrôlée de l'œuvre selon le triple enjeu cicéronien (placere, docere, movere), que Françoise Laurent rappelle à chacune des articulations de son livre. Cette construction rhétorique maîtrisée est « offerte » à Henri II, dont Benoît n écrit pas la « vie » mais vers qui, pourtant, «convergent tous les événements historiques et toutes les aspirations de l'écrivain» (p. 134): les règles d'écriture que Benoît mobilise brillamment dans la nouvelle langue gouvernent une démonstration concertée de la «perfectibilité» du lignage (p. 167), tendu vers la «vie» du duc-roi Henri, «gemme pretiose» couron­ nant les autres «ovres» (vv. 10098-10104). Dans la première partie de l'ouvrage, intitulée «Les enjeux de l'Histoire des ducs de Norman­ die» (pp. 19-136), et dans le dernier sous-paragraphe de l'ouvrage (à la fin de la troisième partie), intitulé «Les redites de l'histoire» (pp. 337-341), ces règles que l'Auteur repère de manière très détaillée ] Saint-Denis et la royauté. Etudes offertes à Bernard Guenée, éd. F. Autrand, C. Gauvard, J.-M. Moeglin (Paris: Publications de la Sorbonne, 1999), pp. 301-338. 2Citons, sur le même thème, le livre de Laurence Mathey-Maille. Écriture du passé. Histoires des ducs de Normandie (Paris: Honoré Champion éditeur, 2007) 458 RHETORICA dans les lieux (rubriques de manuscrits; prologues et épilogues;«frontières du récit», entre excursus initial et «fin suspendue») où se manifeste l'« intention auctoriale» (p. 22) de Benoît sont celles d'historiographes chrétiens, d'Eusèbe de Césarée à Aimoin de Fleury. Dans la deuxième et dans la troisième parties, intitulées respective­ ment «Portraits et panégyriques des ducs normands » (pp. 137-230) et«Les voix de l'histoire» (pp. 233-342), les règles mises en œuvre avec brio par Benoît dans l'éloge et le discours représenté sont celles de la rhétorique classique antique, telles du moins que les comprennent et les utilisent les historiens grecs ou latins. Dans le cas des composantes du discours (rapporté ou direct), par exemple, l'Auteur rappelle que les historiens latins privilégiaient largement la narration (brève) et l'argumentation: Benoît, qui exploite abondamment les techniques du discours, suit leur exemple (pp. 291-295). Mais dans l'écriture de Benoît, transparaît aussi une «rhétorique scolaire»: l'acte com­ plexe de compilation (que l'on reprocha longtemps aux historiens médiévaux) ou encore les procédés d'amplifientio et de variatio en sont, comme le montrent les Arts poétiques des xiie et xiiie siècles, des traits stylistiques fondamentaux. Ce sont toutes ces règles, travaillées dans le creuset d'une nouvelle langue, que Françoise Laurent repère par le moyen de nombreuses études d'extraits. Ce travail, dont nous ne pouvons ici rendre compte de toute la richesse, propose au fond deux processus parallèles de contex­ tualisation de l'œuvre de Benoît, propre à restaurer sa spécificité en prouvant son insertion dans deux traditions précises. D'une part, il montre la captation (p. 108) par la langue vernaculaire des caractères les plus prestigieux de la « littérarité » latine, selon l'expression de Mi­ chel Banniard: ce «beau langage», que véhicule la rhétorique grécolatine (p. 345) et que Benoît explore et exhibe, donne à son entre­ prise historiographique une garantie d'autorité éthique et esthétique. Le passage (ou translatio, p. 345) à la langue vernaculaire rendait nécessaire cette captation dans une société où c'est au latin, celui des ecclésiastiques maîtres de l'Église et de ses rituels, que revient le pouvoir de convaincre et de persuader, de «faire-croire» et de sauver. D'autre part, le travail de Françoise Laurent expose la façon dont ce «beau langage» est soumis aux exigences d'une rhétorique chrétienne et de ses composantes: ce «haut langage» est soucieux toujours de marquer un écart avec un «beau langage» antique et païen. Le repérage des traits caractéristiques de Vhistoria ecelesiastica dans le texte de Benoît (pp. 26-43 et pp. 58-66), genre codifié par Eusèbe de Césarée à la suite et sur le modèle des Écritures, est sur ce plan précis un apport essentiel de l'étude: Benoît s'approprie concrètement un modèle bien repérable d'écriture de l'histoire des Reviews 459 hommes, consacré selon Karl Ferdinand Werner ou Martin Heinzelmann à la démonstration de l'économie du Salut dans les événements de l'histoire des hommes. Il intègre ainsi le «récit des origines» au début de son texte en langue vernaculaire (p. 63), comme Orose ou Raoul Glaber avant lui. En ce sens, Yestoire de Benoît est l'occasion d'une nouvelle captation de marques garanties d'autorité: celles de l'histoire écrite de manière autorisée et autoritaire par les hommes de Dieu, mais plus précisément en cette période de «réforme» , par les hommes de l'Église institutionnelle. Françoise Laurent propose d'ailleurs, à la suite d'Emmanuèle Baumgartner, d'adopter pour le texte de Benoît le titre d'Histoire des dues de Normandie, délaissant ainsi le terme contestable de «chronique» . Ce travail ample et riche ne manque pas d'ouvrir des problém­ atiques nouvelles. Si l'on prend pour repère les deux traditions repérées par Françoise Laurent dans ['Histoire, il est peut-être per­ mis de penser que ['Histoire de Benoît est aussi bien traversée de forces centrifuges créatrices d'un certain «écart». Ainsi, par rap­ port à la rhétorique gréco-latine que manipule si brillamment Benoît, Françoise Laurent montre la manière dont, comme indissolublement, ce langage «emprunté» véhicule dans les «lieux» de l'éloge et dans les arguments des discours une «peinture de l'homme» qui «offre un principe fondamental d'explication de l'histoire» (p. 319) et un«déterminisme humain» (p. 330). Dès lors, dans les portraits et les discours, Benoît semble contester la problématique même de Yhistoria ecclesiastica et sa causalité, fondée au contraire sur la «recherche constante d'une interprétation supra terrestre» (p. 341). De même, le livre de Françoise Laurent met en lumière le rapport essentiel et complexe entre l'historiographe et son roi, dont l'opposition fron­ tale à l'Église réformatrice est bien connue. Or, là encore, c'est une problématique essentielle de Yhistoria ecclesiastica qui est en ques­ tion: celle de la soumission du personnage royal et de ses actes à la volonté de Dieu et à l'interprétation, traditionnellement auxiliarisante , de son historiographe ecclésiastique, qui fait de la fonction guerrière des princes la «part cadette» de l'histoire3 . Au fond, dans YHistoire des ducs de Normandie, Benoît accaparerait les marques de Yhistoria ecclesiastica mais il remplacerait le personnel ecclésiastique, seul véritable acteur des historiae latines, par son roi et sa lignée nor­ mande, n'hésitant pas à qualifier Richard Ier de «sainz» et dotant certains ducs-rois de compétences théologiques. Sans doute sous le 3G. Duby, Les trois ordres ou l'imaginaire du féodalisme (Paris: Gallimard, 1978), p. 343, 460 RHETORICA regard approbateur du Plantagenêt: Wace, rejeté, ne qualifie jamais ainsi Richard Ier... C'est donc, dans YHistoire des ducs de Normandie, s le roi qui fait l'histoire avec Dieu et qui dirige l'Eglise, qu'il recons­ truit et à laquelle il explique le fonctionnement social, comme l'a bien montré Georges Duby. Dans un contexte marqué par un conflit âpre avec le sacerdotium, Benoît serait en lutte contre une conception grégorienne, auxiliarisée, de la royauté, mais il utiliserait pour cela les mêmes armes qu'elle: on peut penser peut-être à la lecture du travail de Françoise Laurent que la rhétorique chrétienne et classique de l'histoire est la plus prestigieuse et la plus efficace. Et que le fait d'y replacer Dieu à côté du roi, sans médiation cléricale, est un acte intéressant de subversion de l'histoire des genres. S'il s'agit bien du même Benoît, il n'en serait pas à son premier coup d'essai: Fran­ cine Mora n'a-t-elle pas découvert le dossier d'une sévère «réaction cléricale» aux audaces du Roman de Troie4? Dès lors, les choix bien différents de Wace posent question: ne serait-il pas le seul des deux historiens à être resté fidèle à toutes les règles du jeu, rhétoriques et idéologiques, de Yhistoria ecclesiastica ? Le travail de Françoise Laurent invite ainsi à redécouvrir un texte important et à lui poser des questions renouvelées. Ce n'est pas là le moindre des mérites d'un ouvrage de recherche... Eléonore Andrieu, Université Bordeaux III, Michel-de-Montaigne 4«UYlias de Joseph d'Exeter: une réaction cléricale au Roman de Troie de Benoît de Sainte-Maure, » Progrès, réaction, décadence dans l'Occident médiéval, éd. E. Baumçartner, L. Harf-Lancner, (Genève: Droz, 2003), pp. 199-213. ...

Notwithstanding the widespread assumption that Aristotle forges a better relationship among rhetoric, the emotions, and political morality than Cicero, I contend that Cicero, not Aristotle, offers a more relevant account of the relationship among these terms. I argue that, by grounding his account of emotional appeals in the art of rhetoric, Aristotle does not evade the moral problems originating in emotional manipulation. Moreover, Aristotle’s approach to emotional appeals in politics is, compared to Cicero’s, static, unable to adapt to new political circumstances. I suggest that Cicero’s approach to the rhetorical emotions is more acceptable to a modern audience than Aristotle’s because it is ethically based while also responsive to political realities. Cicero accommodates emotional appeals to circumstance based on his belief in decorum as a moral principle. Further, I show that emotional manipulation in Cicero is not as problematical as it initially appears.

Three discourses of Aelius Aristides (or. 30-32 K.) set a model of the "young rhetor" built up with opposite instances of dynamism and stasis: on the one hand, the orator confirms his noble origins and education in appearing identical to his biological and cultural fathers; on the other one, as he undergoes a personal evolution, he tries to be better than them. Aristides, he himself a singular figure of master without 'fathers', cannot be surpassed, due to the favour which Asclepius has granted to him; however, the "young rhetores" of his time might have a chance to surpass the 'fathers' (i.e. rhetores) of classical Athens, provided that they receive the divine gift of rhetorics, which is superior to human arts.

Nessuna classificazione, sia antica sia moderna, porta alla luce in modo adeguato la varietà di domande che Demostene utilizza nelle sue Filippiche. Lo scopo di questo lavoro è di esaminare l’analisi dell’utilizzazione delle domande nell’eloquenza greca e di elaborare una nuova classificazione che si basa sul lavoro dei retori antichi e studiosi moderni, ma mette in evidenza la diversità della p rassi di Demostene e chiara come i diversi tipi di domande che egli usa nei suoi discorsi spesso riflettono l’approccio di tutto il discorso.

Reviews 447 A New History ofthe Sermon: The Nineteenth Century. Edited by Robert H. Ellison. Boston & Leiden: Brill, 2010. xiv + 571. ISBN 978-9-00418572 -2 Victorians on both sides of the Atlantic seemed to have had an insa­ tiable appetite for words. This much mav he said of most eras, of course, but certain forces conspired during our period to raise and distribute this hunger in distinctive w avs. Advances in literacy and printing technology, ex­ panding boundaries of public life, and the professionalization of authorship contributed decisively to this phenomenon. The result was an efflorescence of public literature broadly conceived, oral and written, polite and polemical. Among the many genres in which such growth is evident was the sermon. Here was a rhetorical form notable for its appeal to audiences of quite nearly all classes, its sheer ubiquity, its expression in written and oral venues, (fre­ quently in both), and its willing embrace of occasional as well as spiritual matters. Of the latter tendency, it is well to be reminded how sharply the ser­ mon was defined not only by theological trends, but also by shifting cultural developments, foreign and domestic affairs, and newly emerging exigencies across the social landscape. Little surprise, then, that students of rhetorical history, theory, and criticism have found in the nineteenth-century sermon an uncommonly rich subject for exploration; greater surprise that so little has been done to bring together leading specialists in the field and to offer up in one volume their respective research, insights, and arguments. Robert H. Ellison's A New History of the Sermon: The Nineteenth Century rectifies this shortcoming, and then some. An edited work including sixteen original essays, it aims to "examine the theories, theological issues, and cultural developments that defined the 19th-centurv Anglo-American pulpit (4)." The reader will find herein neither grand theory of the sermon, for which we may be thankful, nor any superintending methodology driving the analyses (ditto). We are provided, rather, with a genuinely multi-disciplinary set of investigations from scholars across the humanities, hailing from England, The United States, Canada, and Scotland. This ecumenicism is more than geographical: the authors take up an impressive array of issues associated with the sermon (about which, more below), and are keenly alive to the many and diverse ways in which the sermon both shaped and was shaped by its cultural milieu. Although I cannot do justice here to the range of contexts addressed by the authors, something of the spectrum may be suggested by a brief survey. Theologically, we learn of the sermon's place in High Church efforts to rein in its centrifugal forces; Methodist attempts to wrest it free from such conservative strongholds; Catholic and, inevitably, anti-Catholic variations; Jewish work in salvaging a place of its own; and Mormon sermonic practices in the Great Basin. Social issues of the day given expression by the form are treated with respect to, among other pressures, slavery, evolution, dueling, civil rights, and women's leadership in the WCTU. It is worth observing, too, how several of the authors locate sermonic forms and influences in 448 RHETORICA various other genres, including didactic literature, the novel, and protest rhetoric. Again, we are reminded of the protean character of the form, of its adaptability to vernacular interests, abstract theorizing; and even popular entertainment. So much is not to suggest a free-for-all. On the contrary, the collection grounds itself upon a set of shared aspirations and commitments that give to the project a degree of coherence not often expected of edited volumes. Each of the authors holds in common the following: 1) the value of detailed and well-documented historical recovery; 2) the importance of observing the interplay of form and content in the creation of meaning; and 3) the view that sermons cannot plausibly be extracted from their context, but are explicable only with reference to the material and symbolic forces within which they operate. The volume is accordingly designed to give both these differences and commonalities their optimal reach: most essays run from 3050 pages; documentation and footnoting is extensive and purposeful; and a splendid compilation at volume's end belies my suspicion...

454 RHETORICA Le poète irrévérencieux. Modèles hellénistiques et réalités romaines, textes réunis par Bénédicte Delignon & Yves Roman, CEROR 32, CERGR, Lyon, 2009, 432 p. Le lien de ce livre avec la rhétorique est clair, puisqu'il traite des rapports entre la parole et le pouvoir. Mais sa spécificité est d'envisager la poésie, alors que dans le cadre d'une telle problématique, on considère généralement la prose, notamment l'historiographie. Les éditeurs ont voulu justement associer, dans cet ouvrage collectif, des «historiens» aux «littéraires» . Les historiens étaient ainsi appelés à prendre en compte les textes poétiques non pas comme des «sources» , mais comme des textes dont la matière même et le travail du style révèlent le projet de l'auteur. Mais le pouvoir reste un thème éminemment historique et les éditeurs se sont efforcés de maintenir la tension entre les deux axes en conservant au volume une véritable unité, consolidée par l'introduction de B. Delignon et la conclusion-bilan de Y. Roman, qui se répondent. Mais d'abord qu'est-ce qu'un poète «irrévérencieux» ? Le mot français d'irrévérence, est directement calqué sur le latin irreuerentia. Il aurait pu être défini d'emblée, mais finalement chacun des auteurs donne un peu sa vision de l'irrévérence. Le plus souvent on l'a associée à la libertas, traduction de parrhèsia. Mais, au-delà de la simple liberté de parole, il y a toute une gamme de valeurs : l'irrespect, l'insolence, la critique, jusqu'à l'invective, qui en serait une forme extrême. Tel ou tel parlera plus volontiers d'indépendance que d'irrévérence. Le terme convient de fait bien à la figure du poète, qui à Rome ne peut vivre que dans la dépendance de personnages importants. Au fond, le poète irrévérencieux est le contraire du poète courtisan. II y a des genres poétiques irrévérencieux par nature : les iambes, la satire, Tépigramme et même certaines élégies. Plusieurs chapitres concernent ainsi Horace, Juvénal, Martial, mais aussi Ausone. Mais ce que l'ouvrage met le plus en évidence, c'est la présence de l'irrévérence au sein même de la révérence, dans des textes à vocation apparemment épidictique: épopée, hymnes et même panégyriques. C'est là surtout que se pose la question rhétorique d'une parole déguisée, indirecte ou à double sens. Le livre se présente en quatre parties: (1) Contexte politique et idéologique sous le Haut empire: quelle place pour l'irrévérence ?, (2) modèles hellénistiques, (3), Formes et natures de l'irrévérence sous le Haut empire, (4) L'irrévérence poétique dans la latinité tardive. Au début du volume est posé le contexte d'écriture, dans ses aspects ju­ ridiques, politiques et sociologiques. On constate du reste que l'appréciation de la liberté laissée au poète n'est pas facile: pour A. Suspène, qui étudie no­ tamment les lois réprimant la liberté d'écriture, l'espace laissé à une possible irrévérence est très faible face au pouvoir impérial; Ph. Le Doze, de son côté, met l'accent sur le fait que les aristocrates romains ont besoin des poètes pour façonner leur image et que la relation n'est pas aussi inégalitaire qu'avec le prince. St. Benoist, étudiant le thème de Yabolitio memoriae, montre qu'on ne pouvait pas effacer totalement les écrits des poètes. Deux cas particuliers de Reviews 455 poètes qui ont payé cher leur irrévérence sont étudiés: celui de Cornélius Gallus (F. Rohr Vio) qui est très tôt devenu un thème de controverse dans les écoles de rhétorique, et celui d'Ovide (P. Cosme). La partie sur la poésie hellénistique est conçue par les éditeurs comme un...

Reviews Michael S. Kochin. Five Chapters on Rhetoric: Character, Action, Things, Nothing, and Art. University Park, Pennsylvania: Penn State Univer­ sity Press, 2009. ISBN 978-0-291-03455-3 The selections in this hook are best read as a series of loosely connected essays, situated within political science, informed bv scholarship in the rhetoric of Greek and Roman antiquity They build, in a leisurely way, toward a theory of rhetoric as an art of persuasive speech especially suited to the task of the politician—the construction of political advice. In his introduction, Michael Kochin proposes to use the diffusion of ideas in scientific communities as a model of political persuasion: "the politician seeks an understanding of policy through his or her operations within political institutions, just as the scientist seeks understanding through his or her operation wdthin political institutions. Scientific knowledge is thus created and distributed throughout the netw'ork: it is not merely diffused through it from center to periphery. I appeal to this clear case to explain the unclear case of public life: because the social structure of science is well studied, the rhetorical concepts I want to explicate are more clearly visible in it" (11). That w'ould have been an interesting book, but it is not the one Kochin ended up writing. Five Chapters forgets all about scientific communication for chapters on end, and the ideas that it develops about political communication are a very mixed bag. It is, for all that, an engaging and stimulating book. Kochin offers fix e topics for the investigation of political persuasion: character (or ethos), action (or stasis), things (the creation of facts), nothing (communication that maintains relationships) and art (specifically rhetoric as a means of understanding artful speech). Issues of argument and affect are dismissed in the introduction: political persuasion, according to Kochin, depends on the credibility of the speaker and the telling power of facts, and emotion is "a junk category" (15). Both the topics that Kochin has chosen and those he has left aside offer a reader fair warning that the ride ahead will not be a trot through familiar territories. The chapters on character, action, things, and nothing approach issues of political persuasion from different directions. Character takes up the Aristotelean traits of knowledge, benevolence, and virtue, treated here under the topics of competence, identification, and empathy. The chapter also Khetorica, Vol. XXXI, issue 4, pp. 445-464, ISSN 0734-8584, electronic ISSN 15338541 . T2013 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpressjournals.com/reprintlnfo.asp. DOI: 10.1525/RH.2013.31.4.445. 446 RHETORICA discusses the ways in which political leaders "empty" their personalities of idiosyncracies, the better to reflect common values (40). He critiques theories of ethos that see it as artificial, connecting Aristotle's rhetorical ethos to his political ethos. And he introduces a theme that will connect these four chapters: any program that favors "measures, not men" as the focus of political discourse fails to take into account the public's need to judge measures by the men who advocate them. The chapter on action is an extended reading of Demosthenes' "On the Crown," taken as a model for political advocacy in its orientation to the future, and to the possible. Kochin insists that the Athenian audience's approval of the speech is an extension of its judgment of Demosthenes as a competent, benevolent counselor who represents the collective interests of the Athenians. Judgments based on motives or on the results of actions are necessarily flawed, incomplete, or irrelevant. Kochin illustrates this analysis with examples from American political discourse, including the first of many positive citations of Calvin Coolidge, a president I do not ordinarily associate with rhetorical skill. The chapter on things is one of the strongest in the book. Kochin de­ velops an account of enargeia in a discussion of political speeches that deploy facts, statistics, vivid narratives, and images. The range of examples, from Begin to Coolidge (again!) is impressive; Kochin connects the persuasive force of...

450 RHETORICA The Pennsylvania State University Nathan Crick, Democracy and Rhetoric: John Dewey on the Arts of Becoming. Columbia, SC: University of South Carolina Press, 2010. 225 pp. ISBN 978-1-57003-876-1 Democracy and Rhetoric: John Dewey on the Arts of Becoming foreshadows its full trajectory in the quote from Dewey that opens the book: "The end of democracy is a radical end.... It is radical because it requires great change in existing social institutions, economic, legal and cultural" (p. 1). Dewey's identification of genuine democracy as a radical ideal has a contemporary resonance in the light of resurgent progressive protest here and around the world. His call is directed at "the inequities and tragedies of life that mark the present system," just as grass-roots movements have advanced systemic critiques of systemic injustice (p. 1). But it becomes immediately clear that Dewey's invocation of radicality is in part a provocative rhetorical gesture, because he immediately qualifies it. Those who espouse radical ends must not indulge the desire "for the overthrow of the existing system by any means whatever," but work within the democratic process (p. 1). The concept of the radical is disciplined by the stipulation that there is "nothing more radical than insistence upon democratic methods" (p. 1). Dewey's quote ends by asserting that victory against systemic inequity can only come "from a living faith in our common human nature and in the power of voluntary action based on collective intelligence" (p. 1). The radical is thus put in tension with itself by Dewey's effort to find congruence between means and ends. An analogous split within the concept of the radical underlies Nathan Crick's effort to bring Dewey to the discipline of rhetoric. As the book title suggests, Dewey can help in the contemporary revision of rhetoric as an ontological project. That is surely a radical appeal given the reductive instrumentalism that has so often diminished rhetoric as a techne even within the discipline. But Crick accepts Dewey's constraint on the radical by giving presumption to faith in a common human nature, voluntary action, and collective intelligence. Within the critical rhetoric community in the United States these three presuppositions have been in play for some time, given the suspicion introduced to notions of transparent agency, the autonomy of the will, and faith in the Enlightenment project. The distinction between the two forms of radicality - one that attempts to undermine, and one that attempts to reaffirm the hopeful possibility of a unitary deliberative community through persuasion - is crucial for a grasp of the orientation of Crick's effort, since academic rhetoric in the United States is pulled between the two tendencies. The opposite case was made by Ronald Greene, who attributes to Dewey "the tendencv to translate communication into an aesthetic-moral theory of eloquent citizenship [that] Reviews 451 puts argumentation studies to work for, rather than against, new forms of bio-political control."1 The greatest service of Crick's book may be that it brings this debate to prominence. It should be said that Crick does make efforts to incorporate radical structural thinking in his rapprochement. Michel Foucault, Jacques Derrida, Stewart Hall, Thomas Kuhn, Bruno Latour, Richard Rorty and others weave in and out of Crick's widely cast net. But does Crick adequately wrestle with Dewey's faith in the public sphere, and does he address the challenge posed by a system of discursive display that, at least at the national level, seems to have subsumed public communication into a facade of consensus? That seems to me to be the real test of his assertion of radicality. Crick does address Greene's argument early on (Greene is er­ roneously excluded from the bibliography), arguing that Dewey's radicality had a material dimension, quoting Dewey to this effect: "Democracy is not in reality what it is in name until it is industrial as well as civil and political" (p. 6). Crick asserts that Dewey provides a "third alternative" to, on the one hand, a naive faith in the reformist power of the public sphere, and on the other hand, an impotent posture of critique against the insurmountable Leviathon (p...

We intend to carry out a comprehensive study of the use of the term λέξις in the rhetorical writings of Dionysius of Halicarnassus. We will investigate its different meanings and interconnections with λόγος. As we will see, λέξις is still Dionysius’ preferred term when denoting expression or style, and, thus, he indicates an intermediate stage of evolution between that of Philodemus of Gadara and that of Ps. Longinus or Hermogenes: the latter in these cases have resorted to using λόγος, a non-marked term of opposition, something which would still have been unthinkable for Dionysius.

Book Review| August 01 2013 Review: Catherine Gordon-Seifert, Music and the Language of Love: Seventeenth-Century French Airs by Catherine Gordon-Seifert Catherine Gordon-Seifert, Music and the Language of Love: Seventeenth-Century French Airs. Bloomington and Indianapolis: Indiana University Press, 2011, xiii, 390pp.: black and white illustrations, tables, musical exx. ISBN 978-0-253-35461-7. $44.95 Rhetorica (2013) 31 (3): 334–337. https://doi.org/10.1525/RH.2013.31.3.334 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Catherine Gordon-Seifert, Music and the Language of Love: Seventeenth-Century French Airs by Catherine Gordon-Seifert. Rhetorica 1 August 2013; 31 (3): 334–337. doi: https://doi.org/10.1525/RH.2013.31.3.334 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2013 Review: Eric MacPhail, The Sophistic Renaissance by Eric MacPhail Eric MacPhail, The Sophistic Renaissance (Travaux d'Humanisme et Renaissance 485), Geneva: Droz, 2011, 155 pp. ISBN: 978-2-600-01467-0 55 Rhetorica (2013) 31 (3): 337–339. https://doi.org/10.1525/RH.2013.31.3.337 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 Review: Eric MacPhail, The Sophistic Renaissance by Eric MacPhail. Rhetorica 1 August 2013; 31 (3): 337–339. doi: https://doi.org/10.1525/RH.2013.31.3.337 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

This essay explores how rules for handling testimonial evidence were developed in the contexts of the British jurisprudence, epistemology and theological debate over the course of the eighteenth century, and shows how Thomas Paine appropriated these rules in The Age of Reason, his deistic manifesto.

Other| August 01 2013 Addresses of Contributors to This Issue Rhetorica (2013) 31 (3): 348–349. https://doi.org/10.1525/RH.2013.31.3.348 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 Addresses of Contributors to This Issue. Rhetorica 1 August 2013; 31 (3): 348–349. doi: https://doi.org/10.1525/RH.2013.31.3.348 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

The similarity between elocution and New Criticism in method of analysis, or hermeneutics, seems patent: because elocutionists taught reading aloud, they necessarily considered a text word by word; New Critics revolutionized literary study through a similar if more sophisticated method of textual analysis, an approach which also necessitated a certain vocalizing of the words. And the two groups were curiously alike in their fumbling attempts to describe the nature of literature, its ontology, as a kind of experience. The progression from elocution to New Criticism actually forms an episode in the ongoing dispersal of rhetoric as an academic subject.

Book Review| August 01 2013 Review: Dino Piovan, Memoria e oblio della guerra civile: strategie giudiziarie e racconto del passato in Lisia. Studi e testi di storia antica, 19 by Dino Piovan Dino Piovan, Memoria e oblio della guerra civile: strategie giudiziarie e racconto del passato in Lisia. Studi e testi di storia antica, 19. Pisa: Edizioni ETS, 2011. Pp. 356. ISBN 9788846728258. 22.00 (pb). Rhetorica (2013) 31 (3): 339–342. https://doi.org/10.1525/RH.2013.31.3.339 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Dino Piovan, Memoria e oblio della guerra civile: strategie giudiziarie e racconto del passato in Lisia. Studi e testi di storia antica, 19 by Dino Piovan. Rhetorica 1 August 2013; 31 (3): 339–342. doi: https://doi.org/10.1525/RH.2013.31.3.339 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2013 Review: Benjamin Kelly, Petitions, Litigation, and Social Control in Roman Egypt by Benjamin Kelly Benjamin Kelly, Petitions, Litigation, and Social Control in Roman Egypt. (Oxford Studies in Ancient Documents), Oxford; New York: Oxford University Press, 2011. Pp. xix, 427. ISBN 9780199599615. $150.00. Rhetorica (2013) 31 (3): 345–347. https://doi.org/10.1525/RH.2013.31.3.345 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Benjamin Kelly, Petitions, Litigation, and Social Control in Roman Egypt by Benjamin Kelly. Rhetorica 1 August 2013; 31 (3): 345–347. doi: https://doi.org/10.1525/RH.2013.31.3.345 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2013 Review: Divine Rhetoric: Essays on the Sermons of Laurence Sterne. Edited with an introduction by W. B. Gerard Divine Rhetoric: Essays on the Sermons of Laurence Sterne. Edited with an introduction by W. B. Gerard. Newark: University of Delaware Press, 2010. 284 pp. + CD. ISBN 978-1611491210 $62.50 Rhetorica (2013) 31 (3): 331–334. https://doi.org/10.1525/RH.2013.31.3.331 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Divine Rhetoric: Essays on the Sermons of Laurence Sterne. Edited with an introduction by W. B. Gerard. Rhetorica 1 August 2013; 31 (3): 331–334. doi: https://doi.org/10.1525/RH.2013.31.3.331 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. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

This essay explores how rules for handling testimonial evidence were developed in the contexts of the British jurisprudence, epistemology and theological debate over the course of the eighteenth century, and shows how Thomas Paine appropriated these rules in The Age of Reason, his deistic manifesto.

342 RHETORICA avvenuto nel 1914, quando questo tipo di retorica permise 1 abbandono del pacifismo internazionalista (p. 227 n. 104). Il volume, nonostante il peso della discussione scientifica, è scritto con stile agile; talvolta vi troviamo espressioni modernizzanti disinvoltamente inserite nell'argomentazione (p. es. p. 158 «gossip degli antichi» , p. 170«repubblichetta di Eleusi» ). Il testo è curato con attenzione, rari sono i refusi (p. es. p. 30 molto: molti, p. 155 entrata in carica: entrato in carica, p. 162 di loro: da loro, p. 211 secondo cui: secondo il quale). Utili gli indici dei nomi e delle cose notevoli per una verifica sinottica dei temí trattati. Alberto Camerotto Universita Ca' Foscari Venezia Odile Lagacherie and Pierre-Louis Malosse, eds., Libanios, le premier humaniste. Études en hommage a Bernard Schouler (Actes du colloque de Montpellier, 18-20 mars 2010). Cardo, 9. Alessandria : Edizioni dell'Orso, 2011. viii, 242 pp. ISBN 9788862743174 Bernard Schouler fut l'un des pionniers en France des études sur l'œuvre de Libanios avec la publication de sa thèse, La tradition hellénique chez Libanios, à une époque (1984) où l'intérêt des savants pour cet auteur était souvent restreint à une lecture de son œuvre comme source historique ou comme témoignage sur les rapports entre christianisme et paganisme. Depuis trente ans, comme le rappelle P.-L. Malosse dans son Avant-propos ainsi que dans le bilan bibliographique paru en 2009,1 les études sur Libanios se sont multipliées et les angles d'approche ont beaucoup évolué : désormais, sont pris en compte le rôle éducatif mais aussi politique du sophiste, tout comme la dimension rhétorique et littéraire de son œuvre. Le présent ouvrage entend non seulement rendre hommage à cet éminent spécialiste de Libanios qu'est B. Schouler, mais aussi reconnaître et approfondir la perspective qu'il avait inaugurée. L'articulation retenue s'affranchit des corpus (lettres, œuvres scolaires, discours politiques, etc.) pour privilégier les différentes facettes de Libanios que font émerger les contributions. Nous ne suivrons pas nécessairement l'ordre du volume dans cette revue, afin d'opérer quelques mises en dialogue entre des contributions qui nous ont paru apporter des éclairages complémentaires. B. Schouler (pp. 1-18) offre une synthèse liminaire sur l'humanisme de Libanios : à l'instar des humanistes de la Renaissance qui vont puiser dans l'Antiquité des modèles pour penser, écrire et agir au présent, Libanios trouve en Démosthène une figure de l'orateur engagé dont il emprunte la parrhesia lp-L. Malosse, « Actualité et perspectives de la recherche sur Libanios - , in U. Criscuolo & L. De Giovanni (eds.), Trent'anni di studi sidla Tarda Antichità : bilanci e prospettive, Naples, 2009, p. 229-44. Reviews 343 pour défendre sa cité et la paideia hellénique, fondement incontournable des vertus politiques telles que les pense le sophiste d'Antioche. Ces mêmes valeurs inspirent, selon U. Criscuolo (pp. 177-91), le «dernier Libanios», fidèle à ses idéaux et à la mémoire de l'empereur Julien qui les incarna, mais elles semblent d'une certaine manière condamnées par les mutations irrémédiables que connaît l'Empire sous Théodose. L'étude de C. Saliou (pp. 153-65) sur l'Eloge d'Antioche (or. 11) apporte une contribution originale à l'inventaire des valeurs païennes : son exa­ men des emplois récurrents du mot trnphè révèle le caractère paradigma­ tique du terme, qui incarne une forme revendiquée de l'identité citadine antiocbéenne, confirmée par sa représentation allégorisée sur des mosaïques locales. Le rapport entre discours et réalité historique ou topographique informe également la lecture de l'Antiochikos proposée par G. Ventura da Silva (pp. 133-40), lequel invite à dépasser ce clivage, pour s'intéresser à la représentation de la ville que construit Libanios, à la fois reflet de la per­ ception de ses concitoyens et image destinée à renforcer la cohésion civique dans la célébration d'un modus vivendi spécifique. Plusieurs articles de ce recueil sont consacrés à la paideia rhétorique de Libanios, tant dans...

Reviews 337 The final chapter examines later developments in the air, which the author views as resulting in a general decline in quality, although it may also be the result of a changing aesthetic which valued the simple and natural over the relative complexity of the earlier style. In part this change may have been the result of the popularization resulting from the printed annual anthologies of Ballard, the Airs de different autheiirs (1658-94). In spite of push-back from religious authorities, who decried the pursuit of pleasurable distractions associated with the air, it proliferated in the eighteenth century, albeit in a somewhat simpler, more rustic style. The book is extremely well documented and provides a through bibli­ ography of relevant research. It furnishes extensiv e and accurate translations of all the texts under discussion. Robert A. Green Bloomington Eric MacPhail, The Sophistic Renaissance (Travaux ¿'Humanisme et Renaissance 485), Geneva: Droz, 2011,155 pp. ISBN: 978-2-600-014670 55 This ingenious small book combines a careful but sprightly appraisal of the sophistic sources av ailable to Humanist scholars and a persuasive analysis of the influence of these sources on the writings of major literary figures of the Renaissance. Eric MacPhail manages adroitly the double focus of his study. Scholars of early modern history and literature will doubtless find his appreciation of the linkage between the two an inspiration for further studies. Divided into two parts, the book begins with an engaging bibliographi­ cal account of the "fragmentary fortunes" of the sophists from their notoriety in the literature of late fifth century Athens to their resurgence in the writ­ ings of renaissance humanists. The aim of the author is to uncover who the sophists were. Much scholarship has been devoted to the sophists already, but MacPhail's aim is to engender a new appreciation of the effect of their oratorical methods and their relativist philosophy on renaissance literature. He selects from among the sophists mentioned in classical texts, seven who appear to have made the greatest impression on both ancient and renaissance commentators—Protagoras, Gorgias, Prodicus, Thrasymachus, Hippias, An­ tiphon, and Critias. Seen as relishing arguments on both sides of an issue and delighting in exhibitions of their inventive powers, few commentators spoke in their favor. And as teachers for hire, they provoked disdain, not only from fifth century critics, but from one of their arch imitators, Montaigne, as well. Yet he was indebted to them for the subversive energy of his essays, MacPhail claims, dubbing him "the champion of sophistic reasoning" (92)." Erasmus, too, owed the satirical character of his Praise ofFolly to the sophists. 338 RHETORICA McPhail places the blame for the disrepute of the sophists on Plato's di­ alogues. The philosopher excoriated their argumentative strategies as being based solely on opinion, on what appears to be true. Protagoras exemplified their stance in his claim that all opinions are true and that man is the measure of all things. Aristotle, MacPhail remarks, although less pejorative than Plato in the Art of Rhetoric, distinguished sophists from rhetors by their focus on dynamis (prowess), rather than proairesis (moral purpose). One drawback, however, of the compact nature of this study is the omission of any discus­ sion of the emergence of the art of rhetoric in the same period and its relation to sophistry. Although MacPhail references Aristotle's Rhetoric and treats the "second sophistic" period briefly, noting the writings of Cicero and Quin­ tilian, he does not address the nature of argumentative strategies in terms of subject matter, contingences, or audiences. Sophists, after all, were not the only sages to realize that contingencies required multiple probable answers. The battle of the sophists for recognition of their contributions to knowl­ edge versus the claims of philosophers to own truth continues to surface throughout the work. Paradoxically (and fittingly), the bad reputation of the sophists seems to have ensured their survival. They shocked and fascinated humanists by their skill in demonstrating the truth of opposites. They could, indeed, make the weaker case the stronger. In part two, devoted to what he calls "the antagonism of speech," MacPhail's erudition coupled with a detective's acumen enables him to un­ cover...