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published_or_final_version ; English Studies and Comparative Literature ; Master ; Master of Philosophy

In the Protagoras, Plato presents a view of the Classical Greek social and political structures, as well as personal attitudes and morals, by implying them through the narrative frame rather than explicitly stating them. The allusions to Homer throughout the Protagoras fuel this sense of the Classical Greek. Neither the structure nor the philosophical arguments, when taken alone, give a complete sense of the Protagoras. But when combined, a complex view of the Classical Greek world is achieved

On September 23, 2020, the New York Post reported that "President Trump had signed an executive order expanding a ban on government agencies receiving sensitivity training involving critical race theory to federal contractors" (Moore). By the time this executive order passed, I had already planned to teach a course titled "Rhetoric of Storytelling" that included a Critical Race Theory (CRT) reading from Aja Martinez advocating for counterstory. In response to the murder of George Floyd and subsequent protests during the summer of 2020, my academic department, like many institutions nationwide, issued a statement in support of Black Lives Matter. In addition, my department formed a reading group and working group on anti-racist pedagogy that discussed texts and strategies for incorporating more voices of color into curriculum. Still, when my department met at the beginning of the quarter, I was in a breakout session with a white, male colleague, who expressed confusion as to how he might incorporate non-white voices into his first-year and advanced writing courses. With all the shade intended, I told him that the first week alone of first-year writing featured three women of color, Gloria Anzaldúa, Michelle Obama, and Amy Tan. While "Rhetoric of Storytelling" was not labeled a "diversity" course within my university's core curriculum, the course meets the advanced writing requirement for all students at my institution, and the inclusion of BIPOC writers and scholars in such a course demonstrates how courses can avoid upholding white supremacist practices that center white voices as authoritative and necessary. Through the inclusion of voices of color, we can recognize authors from diverse backgrounds as holders and creators of knowledge, too. "Rhetoric of Storytelling" looks at the purposes of storytelling across different rhetorical traditions, beginning with Ancient Greek and Roman traditions and traversing African American, Indigenous Latin American, American Indian, feminist, and Latinx rhetorical traditions. The course operates from the assumption that storytelling is an epistemic practice, and that storytelling and narration serve similar, if not the same, purpose as academic writing, drawing on the lived experiences of the writer. In fulfilling the course's goals, the students are to: 1) formulate and articulate the significance, role and purpose of storytelling based on course material; 2) participate actively and responsibly as a member of a small learning community to build knowledge on writing, rhetoric, and storytelling; 3) effectively analyze, interpret, and evaluate literary, critical, and theoretical texts; 4) recognize commonplace arguments about storytelling and articulate counterarguments; and 5) design and complete a substantial and original research or writing project.

von Ulrich Fries ; Zugl.: Diss. - Zsfassung in engl. Sprache ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- P.o.germ. 1041 fo-290

This Symposium Essay examines and elucidates the ways in which the narrative constructions that constitute the "imaginary Arctic" factor into litigation surrounding Shell Oil's highly controversial attempts to drill for oil and gas in the Beaufort and Chukchi seas off Alaska's North Slope. Judges, lawyers and litigants involved in the Shell litigation have deployed a number of well-established storylines against each other: the Arctic as Classical Frontier, the Arctic as Spiritualized Frontier, the Arctic as Ancestral Homeland, the Arctic as Developing World, and the Arctic as Neutral Space. The litigation literature produced by this "battle for the Arctic" offers an opportunity to observe how conflicting narratives about nature figure into the rhetorical strategies of lawyers and judges -- and thus how they factor into the law. In addition, the role of Inupiat narratives in the litigation and underlying administrative proceedings illustrates that -- accepting the bargain struck in the 1971 Alaska Native Claims Settlement Act as a given -- the layered United States system of administrative permitting and judicial review does not violate indigenous peoples' rights under relevant provisions of international law.

At the turn of the twentieth century, French society was shaken by a scandal that affected it at many levels to varying degrees and that is still considered as a symbol of injustice, miscarriage of justice and antisemitism. The Dreyfus Affair started in 1894 when an artillery officer of Jewish descent was convicted and sentenced to life imprisonment for communicating military secrets to the German embassy in Paris. Only years later was Alfred Dreyfus exonerated and rehabilitated, due mainly to the role of the media and the famous article by the novelist Emile Zola, "J'accuse". The press, in general, played a fundamental role in the narration of the event and in the complex chemistry that led a confidential case of espionage to become a broad public debate, exemplifying the constant struggle against prejudice and irrational impulses that implies democracy. From the impressive volume of publications, I selected two drawings issued when the truth about captain Dreyfus's innocence began emerging. One is by Félix Vallotton, "That's why she was not coming out!", the other by Gustave-Henri Jossot, "She was too naked", and they both give an interpretation of the truth and of the reasons why it—the truth—came out so late. The semiotic approach of the drawings and of Zola's pamphlet in terms of visual message leads us to distinguish three aspects. The first is iconic and consists of establishing the links between a signifier, a signified and a referent in order to recognize the immediate message but also the connoted signification; the second is linguistic and consists of the captions; and the third is plastic, focusing on size, colors and shapes. These analyzes of the mode in which visual artefacts produce meaning and provoke an interpretative process are made in terms of rhetoric insofar as rhetoric is considered, not only in terms of figures of speech, but as a method of persuasion and argumentation.

At the turn of the twentieth century, French society was shaken by a scandal that affected it at many levels to varying degrees and that is still considered as a symbol of injustice, miscarriage of justice and antisemitism. The Dreyfus Affair started in 1894 when an artillery officer of Jewish descent was convicted and sentenced to life imprisonment for communicating military secrets to the German embassy in Paris. Only years later was Alfred Dreyfus exonerated and rehabilitated, due mainly to the role of the media and the famous article by the novelist Emile Zola, "J'accuse". The press, in general, played a fundamental role in the narration of the event and in the complex chemistry that led a confidential case of espionage to become a broad public debate, exemplifying the constant struggle against prejudice and irrational impulses that implies democracy. From the impressive volume of publications, I selected two drawings issued when the truth about captain Dreyfus's innocence began emerging. One is by Félix Vallotton, "That's why she was not coming out!", the other by Gustave-Henri Jossot, "She was too naked", and they both give an interpretation of the truth and of the reasons why it—the truth—came out so late. The semiotic approach of the drawings and of Zola's pamphlet in terms of visual message leads us to distinguish three aspects. The first is iconic and consists of establishing the links between a signifier, a signified and a referent in order to recognize the immediate message but also the connoted signification; the second is linguistic and consists of the captions; and the third is plastic, focusing on size, colors and shapes. These analyzes of the mode in which visual artefacts produce meaning and provoke an interpretative process are made in terms of rhetoric insofar as rhetoric is considered, not only in terms of figures of speech, but as a method of persuasion and argumentation.

Los tratados exegéticos de Ambrosio El paraíso y Caín y Abel, que se ocupan del hombre como criatura ontológica y éticamente ambigua, evidencian una unidad compositiva que conjuga el género zetemático y el comentario alegórico, en una estructura global cuyos alcances hermenéuticos y retóricos armonizan el sentido pastoral con el normativo, en una clara perspectiva moral. El objetivo de este trabajo es describir las características retóricas de la primera producción de Ambrosio, para completar las reflexiones vertidas en otros trabajos, y prestar especial atención al recurso de la narración en algunas secciones de los opúsculos, debido a que la norma que trasmiten los textos se forma ?en? la historia, cuya manifestación discursiva, a través de los distintos motivos, permite los enlaces entre la ley natural (y su aporte antropológico) y la institución (y su proyección política). Nos interesa específicamente indagar la forma en que la narración resulta normativa, habida cuenta de su carácter cognoscitivo, en un marco mayor de composición que rebasa los sentidos históricos del discurso. ; The exegetical treatises by Ambrose of Milan Paradise and Cain and Abel, focused on the man as an ontological and ethical ambiguous creature, show a compositive unit that conjugates zetematic genre and allegorical commentary, in a global structure in which hermeneutical and rhetorical reaches harmonize the pastoral sense with normative one, in an evident moral perspective. The aim of this paper is to describe the rhetorical characteristics of the first production by Ambrose, in order to complete previous reflections and to study the narration in some parts of the texts, because the rule transmitted is formed 'in' the story, whose motives promote the links between the natural law (and its anthropological contribution) and the institution (and its political projection). We try to examine the way the narration is normative, even though its cognitive nature, in a large frame of composition that rebase historical senses of discourse. ; Fil: Miranda, Lidia Raquel. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de La Pampa; Argentina

El presente artículo parte de la premisa de que la práctica discursiva sobre la muerte oriental, iniciada por las agencias de saber, puede corresponder a una subestimación narrativa de los territorios y de las personas presentes en un espacio polisémico llamado MENA. La hipótesis investigada, a través de la comparación de diferentes fuentes estadísticas secundarias (2001-2017), muestra que la mayoría de las víctimas del terrorismo no se sitúan en el área geográfica occidental, sino en la región de Oriente Medio y África del Norte. Esta interpretación de los datos estadísticos presupone que el número de las muertes, manipuladas en una clave positivista, participa en el proceso más general de "esencialización racial" del espacio. Por lo tanto, lo que nos proponemos hacer es reflexionar sobre la narración de "datos" que alimenta cierta retórica gubernamental de MENA. Metodológicamente, la comparación de diferentes datos aclara que existe una "subestimación geográfica" relacionada con una "sobrenarración" del evento terrorista, descrito como una amenaza oriental. Esta "sobreexposición" tiene el efecto de subestimar a la víctima local, puesto que la inscripción geográfica del MENA, comprendida como un espacio de terror, arrebata la dignidad de la muerte a las poblaciones orientales. ; In this article, we assume the narrative on oriental deaths initiated by agencies of knowledge, may correspond to an underestimation of those people and territories present in a polysemous space called MENA. Comparing different secondary statistical sources (2001-2017), we can presume that most of the victims of terrorism did not occur in the Western geographical area, but in the Middle East and North African ones. Such interpretation of statistical data assumes that the number of deaths, manipulated in a positivist way, participates in the more general process of "racial profiling" of space. Therefore, in this article we propose to reflect on the narration of the data feeding the MENA government rhetoric, as data clarifies that there is a geographical underestimation due to an over-narration of the more complex terrorist event as an oriental menace. The effect of this overexposure is an underestimation of the local victims, because the geographical inscription of the MENA as a space of terror takes dignity away from the death of the Middle East and North African populations

In this article, we assume the narrative on oriental deaths initiated by agencies of knowledge, may correspond to an underestimation of those people and territories present in a polysemous space called MENA. Comparing different secondary statistical sources (2001-2017), we can presume that most of the victims of terrorism did not occur in the Western geographical area, but in the Middle East and North African ones. Such interpretation of statistical data assumes that the number of deaths, manipulated in a positivist way, participates in the more general process of "racial profiling" of space. Therefore, in this article we propose to reflect on the narration of the data feeding the MENA government rhetoric, as data clarifies that there is a geographical underestimation due to an over-narration of the more complex terrorist event as an oriental menace. The effect of this overexposure is an underestimation of the local victims, because the geographical inscription of the MENA as a space of terror takes dignity away from the death of the Middle East and North African populations. ; El presente artículo parte de la premisa de que la práctica discursiva sobre la muerte oriental, iniciada por las agencias de saber, puede corresponder a una subestimación narrativa de los territorios y de las personas presentes en un espacio polisémico llamado MENA. La hipótesis investigada, a través de la comparación de diferentes fuentes estadísticas secundarias (2001-2017), muestra que la mayoría de las víctimas del terrorismo no se sitúan en el área geográfica occidental, sino en la región de Oriente Medio y África del Norte. Esta interpretación de los datos estadísticos presupone que el número de las muertes, manipuladas en una clave positivista, participa en el proceso más general de "esencialización racial" del espacio. Por lo tanto, lo que nos proponemos hacer es reflexionar sobre la narración de "datos" que alimenta cierta retórica gubernamental de MENA. Metodológicamente, la comparación de diferentes datos aclara que existe una "subestimación geográfica" relacionada con una "sobrenarración" del evento terrorista, descrito como una amenaza oriental. Esta "sobreexposición" tiene el efecto de subestimar a la víctima local, puesto que la inscripción geográfica del MENA, comprendida como un espacio de terror, arrebata la dignidad de la muerte a las poblaciones orientales.

The following investigation aims to analyze the origin of the relationship between rhetoric and Criminal Law; in fact, the rhetoric or also called "the art of persuasion" where writing is not necessary, was introduced by Socrates, an important Greek philosopher and teacher who lived in Athens in the 300 BC. It is intrinsic to Criminal Law since its normative material is not perfectly codified; in fact, rhetoric constitutes a sort of instrument by which a citizen can support his own opinion both in the political and judicial sphere before, in this case, a criminal trial presenting findings of the fact and an excellent narration in order to obtain the jury's consent. It is also of great interest to mention the importance of identifying the differences and equations between rhetoric and legal considerations; identify the main reasons why the Criminal Law requires rhetoric and then compare it with the Ecuadorian Criminal Law; examine the strategies used by "the art of persuasion" to prove the benefits and disadvantages it brings in Criminal Law; finally, to present some observations to reduce this problem finding a balance in the practice of rhetoric. KEYWORDS: rhetoric, logic, right, criminal process, rationality. JEL CODE: K14, L10 ; RESUMEN La siguiente investigación tiene como objetivo analizar el origen de la relación entre retórica y Derecho Penal; de hecho, la retórica o también llamada "el arte de la persuasión" donde la escritura no es necesaria, fue introducida por Sócrates, un importante filósofo y maestro griego que vivió en Atenas en el 300 a. C. Es intrínseco al Derecho Penal ya que su material normativo no está perfectamente codificado; De hecho, la retórica constituye una especie de instrumento mediante el cual un ciudadano puede sustentar su propia opinión tanto en el ámbito político como judicial antes, en este caso, de un juicio penal que presenta conclusiones del hecho y una excelente narración para obtener el consentimiento del jurado. . También es de gran interés mencionar la importancia de identificar las diferencias y ecuaciones entre la retórica y las consideraciones legales; identificar las principales razones por las que el Derecho Penal requiere retórica y luego compararlo con el Derecho Penal ecuatoriano; examinar las estrategias empleadas por "el arte de la persuasión" para demostrar los beneficios y desventajas que aporta al Derecho Penal; finalmente, presentar algunas observaciones para reducir este problema encontrando un equilibrio en la práctica de la retórica. ABSTRACT The following investigation aims to analyze the origin of the relationship between rhetoric and Criminal Law; in fact, the rhetoric or also called "the art of persuasion" where writing is not necessary, was introduced by Socrates, an important Greek philosopher and teacher who lived in Athens in the 300 BC. It is intrinsic to Criminal Law since its normative material is not perfectly codified; in fact, rhetoric constitutes a sort of instrument by which a citizen can support his own opinion both in the political and judicial sphere before, in this case, a criminal trial presenting findings of the fact and an excellent narration in order to obtain the jury's consent. It is also of great interest to mention the importance of identifying the differences and equations between rhetoric and legal considerations; identify the main reasons why the Criminal Law requires rhetoric and then compare it with the Ecuadorian Criminal Law; examine the strategies used by "the art of persuasion" to prove the benefits and disadvantages it brings in Criminal Law; finally, to present some observations to reduce this problem finding a balance in the practice of rhetoric. KEYWORDS: rhetoric, logic, right, criminal process, rationality. JEL CODE / CLASIFICACIÓN JEL: K14, L10

Objective: This article analyzes, in the book Los piratas de Cartagena. Crónicas histórico-novelescas, by Soledad Acosta, its representations (mimesis-poiesis) of characters and situations of the colonial era; especially, the rhetoric on the ethical role of notable characters —priests, politicians, military men and women close to State affairs— and their place of leadership, as literate men and women, for the Hispanic and Catholic republic that was projected in the Regeneración (1875-1886). Methodology: Based on a hermeneutic analysis and interpretation, we seek to understand the fusion between horizons of understanding of the author-enunciator; particularly two: the colonial era, as a period narrated in different phases of modernization, and its present, prior to its writing and establishment of the Constitution of 1886. The analysis rests on the concepts of rhetoric, "economy of literature" and "regime of art". Originality: The analyzed book is one of the least studied works written by the author, notwithstanding its importance both for cultural and social history, as well as for literary studies and, therefore, for poetics, aesthetics and art history. Conclusions: The analysis evidences the need to continue turning to documents that narrate and describe historical events from points of view that complement the bipartisan history and the teleological vision of the most remembered heroes. In this case, in a document that brings us closer to the understanding of pirates, women, children, the elderly, indigenous people and Afro-descendants of the colonial era. ; Objetivo: el objetivo de este artículo es analizar, en el libro Los piratas de Cartagena. Crónicas histórico-novelescas de Soledad Acosta, las representaciones (mimesis-poiesis) de personajes y situaciones de la Colonia, especialmente la retórica sobre el rol ético de personajes notables —sacerdotes, políticos, militares y mujeres cercanas a los asuntos de Estado— y su lugar de liderazgo como letrados y letradas en la república hispanista y católica que ...

En la actualidad, sobre un mismo hecho noticioso se desarrollan diferentes narrativas con materialidades, medios de producción y consumo diferentes. Esas formas de construir versiones históricas cuentan con lenguajes distintos que conviven en un momento específico por lo que es posible encontrar en ellas discursos subyacentes que van más allá de una postura política. La interrelación de esos discursos construye en el ideario social una mirada panorámica sobre el suceso que las originó, de tal forma, que todas esas visualizaciones individuales han de conjuntar una sola memoria que en el futuro se tendrá del hecho. Ante esa premisa inicial, y tomando como base las teorías de los estudios visuales (Mirzoeff, Bal, etc.), y trabajos de autores como Zizeck, Anderson y Appaudari; el presente trabajo plantea los inicios del desarrollo de una metodología de análisis para esos "discursos hermanos" –particularmente novela gráfica, documental y sitio web– de un hecho histórico reciente (el caso Ayotzinapa), para establecer la forma en cómo se relacionan sus narrativas y cómo crean símbolos reconocibles en las comunidades de interpretación a las que se dirigen. ; Nowadays, different narratives are developed around the same news event, with different materialities, means of production and consumption. These ways of constructing historical versions have different languages that coexist in a specific moment, so it is possible to find in them underlying discourses that go beyond a political stance. The interrelation of these discourses builds in the social ideology a panoramic view of the event that originated them, in such a way that all these individual visualizations have to join a single memory of the event in the future. Given this initial premise, and taking as a basis the theories of visual studies (Mirzoeff, Bal, etc.), and works by authors such as Žižek, Anderson and Appaudari, this paper proposes the beginnings of the development of a methodology of analysis for these "sister discourses" – particularly graphic novels, documentaries and websites– of a recent historical event (the Ayotzinapa case), to establish how their narratives are related and how they create recognizable symbols in the communities of interpretation to which they are directed. ; Coordinación de Posgrado de Ciencias y Artes para el Diseño

This article intends to inquire the official narrative of the 9/11 terrorist attacks exhibited at the 9/11 Memorial Museum as a mise-en-scène of a tragedy according to the definition theorized by Aristotle in his Poetics. Indeed, the 9/11MM stages a master narrative of the attacks that frames the historical reconstruction and nurtures the memorial endeavor on the basis of Aristotle's unity of time and place; predominance of performance over narration; explicit distinction between heroes and villains; and the inspiration, in the spectator, of the empathic feelings of fear and pity ultimately leading to the catharsis. In turn, this enactment may be read as the apex of the "us vs. them" rhetoric, inaugurated by President Bush in the wake of the attacks and subsequently endorsed by other politicians and the media alike.

Between the 1970s and the 1990s, discussions regarding the epistemo- logical status of historiography acquired centrality in some academic circles. Politics, rhetoric, science, and memory were not alien to those debates. More than being resolved, those tensions were put aside: most historians continue to seek ways to approach the reality of the past, while most of their critics continue to believe that, by doing so, they are prisoners of an illusion. The following article presents some of the central themes regarding the problem and argues both about the necessity of facing its challenges and the consequences of some of the proposed solutions. ; Entre las décadas de 1970 y 1990, las discusiones respecto del estatuto epistemológico de la historiografía ocuparon un lugar importante en algunos círculos académicos. Cuestiones vinculadas con la política, la retórica, la ciencia y la memoria no fueron ajenas a esos debates. Más que resolverse, la tensión al respecto fue dejada de lado: los historiadores, en su mayoría, siguen buscando aproximarse a la realidad pasada como lo hacían antes, mientras que sus críticos siguen pensando que, al hacerlo, son presa de una ilusión. El artículo que sigue presenta algunos temas centrales respecto del problema y argumenta tanto acerca de la necesidad de abordarlo cuanto sobre las implicancias de algunas soluciones.