Topoi

Partindo do pressuposto de que a violência é uma das principais chaves analíticas dos chamados "eventos traumáticos" do século XX e do fato de que a ditadura militar argentina (1976-1983) foi extremamente violenta, o artigo sustenta que, embora a ditadura militar brasileira também tenha sido muito repressiva, a noção de frustração, antes que a de violência, é a mais adequada ao seu entendimento. Tais questões, inevitavelmente, remetem às dificuldades vivenciadas pelo historiador em sua relação com os temas tabu, sensíveis ou traumáticos, para as quais o artigo apresenta, ao final, uma proposta de equacionamento.

We have found that a sparse version of the claim that alienated labor is a bad thing can inform a political morality without turning that morality into one which makes more comment on people's ends than the liberal can accept. We have also seen that a modification of the ideas of alienation from our species being can play a limited role in a liberal political morality, but that the rational kernel of the critique from species alienation is already a familiar part of the liberal tradition. However, the substantive view of the good life - as one which essentially involves engagement in communal ties and satisfying labor - cannot play the role which certainly many Marxists would like it to play in their critique of capitalism, at least if their critique is to be recognizably liberal. Why should it matter so much that Marxists be able to accommodate central liberal insights? It is not because a political morality has to be liberal in order to be successful in the real world: history and the contemporary world are full of examples of political views which command wide assent despite (or because of) their illiberality. But the foreseeable stages of a socialist society will be plagued by the circumstances of justice as they have been classically conceived. A socialism which is sufficiently better than capitalism to be worth the significant risk and sacrifice it is likely to require must be liberal in the sense that it can be regarded as defensible to each person who is actually subject to it. This does not require that it accommodate the greed of the greedy or the injustice of the unjust. But it does require that it not presume the unworthiness of the moral commitments of its reasonable citizens.47

Arguing against the dominant developmental theories (e.g., Piaget, 1945; Vygotsky, 1978) stating that pretend play is limited to early childhood, we illustrate that pretend play is an adaptive human activity of adulthood as well as childhood. We advance this argument on three levels. First, we offer an analysis of why the discipline of developmental psychology in the Western world considered play only as an activity of childhood by neglecting to explore whether or how pretend play exists during adulthood. Second, we discuss the similarities between adult improvisational theater and children’s pretend play in illustrating our thesis that pretend continues to exist during adulthood. In this discussion, we focus on similarities in the definitions, psychological origins, social functions, and developmental consequences of pretend play and adult improvisation. Finally, we end the article with educational implications of conceptualizing pretend play as a life-span activity and offer directions for future research.

Este trabajo está centrado en explorar las primeras hipótesis sobre una cultura de la discriminación en la niñez. Está concentrado en cinco capítulos en los que describo a profundidad el proceso de investigación de la pregunta ¿cómo discuten y justifican los niños de 10 y 11 años sus juicios y creencias sobre discriminación por orientación sexual?. Asumiendo el supuesto de que mediante discusiones argumentativas, podemos comprender mejor esos posicionamientos e ideas sociales. El último capítulo, el 6, está dedicado enteramente a las reflexiones y conclusiones del proceso.

Retorykę od samych jej starożytnych początków pojmowano jako "mistrzynię nakłaniania", "sprawczynię perswazji", gr. peitho demiurgos (Lichański 1992: 11-55) i dlatego wiedza o argumentacji stanowiła zasadniczy komponent antycznych teorii retorycznych. Dziś także sztuka retoryczna wiąże się ściśle z przekonywaniem i nakłanianiem, dlatego również we współczesnych ujęciach argumentacja stanowi istotny element kształcenia retorycznego. Jednak wobec znaczących zmian społecznych i kulturowych (intensywny rozwój mediów, dominacja kultury wizualnej), które zaszły od czasów starożytnych, można zastanawiać się nad adekwatnością klasycznych koncepcji dotyczących retorycznej argumentacji dla nauczania retoryki dziś. Ponadto zmiany w edukacji retorycznej, która nie jest już ściśle skorelo-ana z równoczesnym kształceniem filozoficznym, w ramach którego nie-gdyś obowiązkowo nauczano dialektyki i logiki (wiedzy o poprawnych i niepoprawnych sposobach rozumowania) może mieć wpływ na zmiany w sposobie prezentacji teorii retorycznej dzisiejszemu odbiorcy. W artykule postawiono pytania: o sposób, w jaki we współczesnych polskich podręcznikach do kształcenia retorycznego na szczeblu akademickim pojawia się problematyka argumentacyjna oraz o to, które z podejmowanych tam wątków mają rodowód klasyczny. Jest to równocześnie pytanie o to, które z greckich i rzymskich koncepcji retorycznej argumentacji, okazały się trwałe do dnia dzisiejszego oraz jakim ewentualnie reinterpretacjom podlegają one we współczesnych podręcznikach.

In view of the very different and even contradictory current uses of tópos in the field of literary criticism, my paper proposes to establish a valid definition of this old rhetorical and philosophical term, which very soon pervaded literature, being characterized essentially as the normal version of a
literary argument, having both a trópos-function and also the possibility of receiving an antithetical treatment (marked term of the opposition).

The concept of topoi, the topics or commonplaces, has a long history with a long scholarly conversation. Multiple fields have engaged this conversation (Zompetti 2006). In this entry, however, the concept of topoi is restricted to the field of rhetoric, in which the conversation is both theoretically robust and practical in its goal of training student rhetors. This entry covers the definition and uses of topoi as a rhetorical concept, traces a brief history of the concept and its resurgence in the second half of the twentieth-century, and discusses contemporary contributions to topoi theory and praxis.

This essay is an attempt to understand the reasons for the current crisis of musical aesthetics. It examines the function of this discipline as the mediator between philosophy and musicology, it inquires into its connections with the ideals of autonomy, beauty and free subjectivity. During the 20th Century, major changes in society and their communication forms happened; anthropology and semiotics began to compete with aesthetics in explaining musical facts. The last paragraphs test the chances of resistance of musical aesthetics; musical meaning appears to be the only question which endured in spite of the considerable fragmentation and loss of profile of musical experience.

I provide a survey of the contents of the works belonging to Aristotle's Organon in order to define their nature, in the light of his declared intentions and of other indications (mainly internal ones) about his purposes. No unifying conception of logic can be found in them, such as the traditional one, suggested by the very title Organon, of logic as a methodology of demonstration. Logic for him can also be formal logic (represented in the main by the De Interpretatione), axiomatized syllogistic (represented in the main by the Prior Analytics) and a methodology of dialectical and rhetorical discussion. The consequent lack of unity presented by those works does not exclude that both the set of works called Analytics and the set of works concerning dialectic (Topics and Sophistici Elenchi) form a unity, and that a certain priority is attributed to the analytics with respect to dialectic.

The Sibyl theme seems to be very attractive for literature because of various reasons. First of all, the theme provides means to express a sublime awe of the future, and, in general terms, some deeper reflections on time and history. Supernatural atmosphere of prophecies permits also to convey an impression of the connection between text and divinity. Furthermore, Sibyl often serves as a useful link uniting different traditions and cultures, e.g. Greek, Roman and Hebrew or Christianity and paganism. Many of those Sibylline features were exploited in twentieth century literature, in the works of such eminent authors as Rainer Maria Rilke, Thomas Stearns Eliot, James Joyce, Michel Butor, Pär Lagerkvist, and William Golding. This Sibylline tendency in modern literature is precisely the subject of my scrutiny in the paper.

Топосы и символы в поэтике Римского-Корсакова

Римский-Корсаков неоднократно использовал слово «звукосозерцание» — взгляд на мир, выраженный в музы кальных звуках. Хотя он не претендовал на создание целостной системы музыкальной мифологии, подобно Вагнеру, мы можем попытаться воссоздать её, выявив несколько топосов и символов, наиболее важных для его поэтики: Море, Озеро, Небо, Солнце, Звезды, Земля, Лес, Сад, Град. Мифопоэтическая система Римского-Корсакова оказывает ся столь же глубоко укорененной в европейской традиции, сколь и оригинальной.

Abstract:
Topoi and Symbols in Rimsky-Korsakov's Poetics

Rimsky-Korsakov repeatedly used the word " zvukosozertsanie " (звукосозерцание) — a world view, or world contemplation, expressed in musical sounds. He did not claim to create an integral system of musical mythology (like Wagner), but we can try to reconstruct it, revealing some topoi and symbols, which are most important for his poetics: Sea, Lake, Sky, Sun, Stars, Earth, Forest, Garden, and City.
The system of poetical mythology created by Rimsky-Korsakov appears deeply connected with the European tradition, and at the same time —highly original.

This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers sometimes have explicit recourse to philosophical ideas in advancing their music, there being prominent examples of this in the twentieth century. Lastly, given there is such a thing as the philosophy of music, might there also be the music of philosophy?

This paper critically reviews phenomenological philosophy of the body in light of postmodern and postcolonial critiques of universalism. It aims to recast the notion of the lived body in plural rather than singular terms. It does so within the context of phenomenology and dance, using cultural anthropology to highlight the sense in which bodies are culturally and corporeally specific. The notion of corporeal specificity is applied to the perception of dance, paying particular attention to questions of power and hegemony. This is not to reject phenomenology, but to differentiate it according to its social, historical and kinaesthetic milieux.

Edward Snowden's disclosure of secret National Security Agency documents in 2013 was the most monumental leak of classified intelligence files in history. In the process of leaking the documents and sustaining their relevance in the public's eyes, Snowden was faced with constraints on his ability to maximize the reformative power of the leak. These constraints were rhetorical and nonrhetorical, meaning they could be changed through discourse, or could not. Concepts from rhetorical scholarship, such as the rhetorical situation, topoi and dissociation can help define these various constraints and show how Snowden navigated them. The main analysis of this essay is an application of these concepts to editorials and news articles related to Snowden and other whistleblowers. The same arguments used against Snowden have also been used against prior whistleblowers of American intelligence secrets, suggesting these are persistent barriers that future whistleblowers will also have to confront.

Como he demostrado en mi tesis doctoral, el perdón ejerció un importante papel en las estrategias políticas y legitimadoras de los soberanos omeyas andalusíes. En esta ocasión, haré un repaso de la institución del amān por ser una de las manifestaciones de esta clemencia más habituales en las crónicas sobre el período omeya. Se ha demostrado que la narración de estos pactos supuso un espacio excepcional para los cronistas a la hora de presentar una imagen estereotipada del soberano clemente, basando la firma de acuerdos de paz en la naturaleza benevolente de los gobernantes, en vez de verlo como una posible necesidad de negociación o una muestra de debilidad. El relato sobre la defensa de Tudmir será una vez más objeto de análisis por ser un interesante ejemplo de recreación historiográfica de la sumisión de ciudades, volviendo a repasar los paralelismos que existen entre este relato y otros similares con un precedente oriental como la toma de Hayr, en Arabia.

Dividing the discipline’s metaphors between technical and conceptual is a reality not fully explored, nor I believe never noticed. In addition to the multidisciplinary relevance and general use of metaphors, metaphoric axioms, arguments in favor of the stasis of why interior design is an art the two realities of the metaphor work separately and together in six  creative ways.  Many of my monographs included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Interior design  is an art[I]
• Therefore interior design is the making of metaphors.
Art [I] is only when skill is applied with intent and advanced development of some skill.
Till now we did nothing to reason why art [I] is the making of metaphors, nor why interior is an art [I]. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information in Metaphor and Thought by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to questions of why metaphor is the stasis to any of the syllogism’s claims and implications.
The six priciples explain the stasis in terms of metaphor’s two technical and conceptual dimensions.  Both are valid separately and even more acceptable in combination.  But how do they two operate and how does knowing this benefit design, use and evaluation of built works?
The technical is that all art [I], including interior design, expresses one thing in terms of another by its inherent and distinct craft. On the one hand there is the designer who acts as the owsnere’s surrogate  and on the other the fountain of conceptual metaphors which expresses ideas as built conceptual metaphors other wise known as interior desings. Techne is actually a system of practical knowledge as a craft or art informed by knowledge of forms. 
For  example,  the craft of managing a firm ofinterior designers where even virtue is a kind of technê of management and design practice, one that is based on an understanding of the profession, business and market. In this case the technai are such activities as drafting, specifying, managing, negotiating, programming, planning, supervising, and inspection.  By association with these technai, we can include decorationg, funiture selection, color coordianation, writing, and painting.  So much so that the study and practice of design is devoid from the humanities and downplays theories of design;  developing rather the crafts, skill and understandings needed to plan, sketch, draw, delineate, specify, write, and design.
Contemporary interior design is replete with axioms, principles and theorems guiding the geometry, applications of science, use of engineering, and formal logic to produce technical metaphors and justly excluding a whole conversation about the conceptual part of the built metaphor.

The aim of this research is to explore Right-Wing Populist (RWP) discourse by focusing on the case of the Spanish People’s Party (PP). Following the tradition of Critical Discourse Studies (CDS), I use a Discourse-Historical Approach (DHA) to analyse the discourses of the People’s Party, focusing in two recurrent topics: ETA’s terrorism in contrast with Francoism, and Venezuela as a recurrent actor in the Spanish political debate. I first present a sociohistorical contextualization of Spain over the 20th century, the birth of the People’s Party and its development until the present, besides further presenting the current context and situation of the party. This first part constitutes a two-fold socio-political and historical current analysis of the context. Then, I analyse a series of chosen speeches in relation to the thematic dimension of the discourses by carrying out an entry-level analysis and an in depth-analysis which correspond with the text-internal and co-text part of the analysis that focuses on the discursive means employed, such as fallacies, topoi and discursive strategies. Over the two parts, of the analysis, I consider the intertextual and interdiscursive relations of the chosen discourses with regards to the PP as a part of a context-dependent discourse analysis.

In another time when kingdoms created their dynasty’s iconic buildings, the architect and artisans took their ques from the reigning monarch. In our modern pluralistic society the free reign of ideas and opinions as to contexts and their meanings are diverse. As the doctor takes the Hippocratic oath, the lawyer vows to defend all so there is one whose call is to capture the ethos (4.0 The Oxford English Dictionary, is defined as "the characteristic spirit, prevalent tone of sentiment, of a people or community” ) of his time into built metaphors, he is called architect. Not only is my childhood quest relevant but the essence of the responsibility of today’s architect who not only reasons the technical but individually reasons the conceptual. It is to the architect that society turns to be informed about the shape and form of the context in which life will be played. With this charge the need to know that we know and do by reasoning what science verifies by the scientific method to know that we know about the buildings, parks, and places we set into the environment. It is a public and private charge included in the contract for professional services but unspoken as professional life’s experience; to prove the relevant, meaningful and beneficial metaphors that edify encourage and equip society as well as provide for its’ health, safety and welfare. So it is critical to realize, control and accept as commonplace that the role of the architect is to do much more than build but build masterfully.

В статье предпринимается попытка связать логические топосы, риторические фигуры и синтаксические конструкции. В качестве материала использованы речи русских адвокатов эпохи золотого века русского судебного красноречия, т. е. конца XIX-начала XX в., отобранные в произвольном порядке: основной задачей в рамках работы было рассмотреть не особенности индивидуального ораторского стиля, а общие синтаксические стратегии реализации топосов. В судебных речах одними из наиболее частотных логических топосов являются топосы времени и места, рода и вида. Их анализ проводится с помощью схем логических операций и множеств, а также структурных схем предложений, которые затем связываются с риторическими фигурами (функции фигур кратко описываются для каждого конкретного случая). В заключение обобщаются результаты исследования: приводятся логические операции, наиболее характерные для топосов рода и вида, времени и места; наиболее распространенные синтаксические схемы предложений и риторические фигуры.