Rational Choice and British Politics. An Analysis of Rhetoric and Manipulation from Peel to Blair
In: Italian Political Science Review: Rivista italiana di scienza politica, Band 32, Heft 3, S. 553-567
ISSN: 0048-8402
In: Italian Political Science Review: Rivista italiana di scienza politica, Band 32, Heft 3, S. 553-567
ISSN: 0048-8402
"La Retórica militar, el logikon meros" del compendio del maestro Syriano, es un único y original tratado del género protretico. Mientras los primeros indicios de este género se pueden ver en La Ilíada de Homero, las historias de Tucídides son el ejemplo no superado de la literatura militar posterior, particularmente de Procopius. La estructura de la retórica militar organizada en la teoría atribuida a Hermógenes de Tarso, combina los términos protrepticos con pensamientos estratégicos, que denotan madurez en época bizantina. De acuerdo a esta teoría, en términos de guerra los temas de relaciones y emociones, son más importantes que las batallas con armas. ; "Rhetorica militaris, the logikon meros" of Syrianus Magister's compendium, is an original, unique stage of the history of the protreptic genre. While the first signs of the genre can be seen already in Homer's "Iliad," Thucydides' Histories are in this field an unsurpassed example for later military historians, and particularly for Procopius. The rhetorical structure of the "Rhetorica militaris," organized upon the theories attributed to Hermogenes of Tarsus, combines protreptic themes with strategic thought, which in the Byzantine age assumes a mature character. According to this theory, in times of war relational and emotional issues can be more important than battles with weapons. ; La "Rhetorica militaris, il logikon meros" del compendio di Siriano Magister, si pone come tappa tanto originale quanto isolata del processo evolutivo del genere protrettico. Se i prodromi sono ravvisabili già nell'"Iliade" omerica, le Storie tucididee rappresentano anche per tale ambito un esempio insuperato per gli storici militari di età successive, tra questi soprattutto Procopio. L'opuscolo, il cui impianto è esemplato sulle teorie esposte nel corpus attribuito ad Ermogene di Tarso, coniuga i motivi protrettici con una riflessione strategica che nell'età bizantina assume una fisionomia matura: in guerra le istanze relazionali ed emozionali possono essere più importanti dello scontro in armi.
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This paper connects two critical paradigms: the model of the mythological machine developed by Furio Jesi and the ideology of the venezianità that has been investigated, with respect to the Fascist period, by Mario Isnenghi. In the early 20th century, the myth of the Serenissima plays a key role both in the works of Gabriele D'Annunzio and in the movies inspired by them. This paper focuses on a relevant example taken from such cinematography (La nave, 1921), but it also extends the analysis to other sources, like the glossy magazines and the historical studies printed in Venice during the Ventennio. By projecting the Venetian past onto the Fascist present, these publications offer a rhetorical cloak to disguise the financial and military ambitions of the rising Venetian bourgeoisie. This paper makes use of the conceptual tools elaborated by Jesi in order to dissect this mythology. The goal is to outline a specific variant of the myth of Venice, whose sources do not belong to the 16th-century vulgate, that is the most famous version of the myth. Such sources date back to the second half of the 17th century instead, when the wars against the Turks nurtured a warlike and individualistic rhetoric, both in public celebrations and in typography. The ideas and the narrative that germinated in the Baroque era, as well as the names of the doges and the captains from that time, can be found both in the works of Gino Damerini, a central figure in Venetian cultural life during the Ventennio, and in the verses written by D'Annunzio to celebrate the Italian war in Libya (Merope, 1912). ; L'articolo mette in comunicazione due paradigmi critici, l'uno teorico e l'altro storiografico: da una parte il modello della macchina mitologica elaborato da Furio Jesi, dall'altra l'ideologia della venezianità studiata, in relazione al Ventennio fascista, da Mario Isnenghi. Le proiezioni mitologiche della Serenissima vengono alimentate, nel primo Novecento, dalle opere di Gabriele D'Annunzio e, più in generale, dal dannunzianesimo cinematografico, di cui si indaga qui un caso specifico (La nave, 1921); ma la ripresa, a fini propagandistici, del mito di Venezia è un fenomeno trasversale, che interessa tanto le riviste patinate quanto gli studi storici, garantendo un paludamento retorico agli interessi, finanziari e militaristi, della nuova borghesia in ascesa. Adoperando gli strumenti concettuali approntati da Jesi, l'articolo si impegna a sciogliere questa mitologia in senso diacronico. Si delinea così una variante specifica del mito di Venezia, le cui fonti non appartengono alla più celebre vulgata cinquecentesca, ma risalgono invece alla seconda metà del Seicento, quando le guerre contro i Turchi favoriscono, tanto nelle celebrazioni pubbliche quanto in tipografia, l'emergere di una retorica bellicosa e individualista. Le idee e le narrazioni germinate in epoca barocca, come pure i nomi dei dogi e dei capitani che di quella stagione furono i maggiori interpreti, si ritrovano puntualmente sia nell'intensa attività pubblicistica di Gino Damerini, uno dei più importanti intellettuali della Venezia fascista, sia nei versi con cui D'Annunzio celebra la guerra di Libia (Merope, 1912).
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Giovanni Verga's tale Libertà has often been object of multifaceted – and frequently discording –critical interpretations, being the most common readings those of who saw in it a clear bias for the Italian Risorgimento (despite its violent development), and those who read it as an expression of resilient skepticism by the author towards the same historic event. Leonardo Sciascia, for example, uses the term "mystification" to describe Verga's attitude towards Bronte's insurrection, at a time – 1860 – when Garibaldi was carrying out his well-known Expedition of the Thousand. The essay goes through all the noteworthy moments of this critical tradition, eventually deducting that it is by no means possible to draw firm assertions about Verga's political ideology with the sole literary work as a point of reference. It argues instead that the author's literary eminence must be seen in his outstanding ability to raise such a vast array of multilayered interpretations in the readers. ; Giovanni Verga's tale Libertà has often been object of multifaceted – and frequently discording –critical interpretations, being the most common readings those of who saw in it a clear bias for the Italian Risorgimento (despite its violent development), and those who read it as an expression of resilient skepticism by the author towards the same historic event. Leonardo Sciascia, for example, uses the term "mystification" to describe Verga's attitude towards Bronte's insurrection, at a time – 1860 – when Garibaldi was carrying out his well-known Expedition of the Thousand. The essay goes through all the noteworthy moments of this critical tradition, eventually deducting that it is by no means possible to draw firm assertions about Verga's political ideology with the sole literary work as a point of reference. It argues instead that the author's literary eminence must be seen in his outstanding ability to raise such a vast array of multilayered interpretations in the readers.
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When we speak of rhetoric, we have in mind the strength of the word, its ability to affect those who transpose it 1, and, at the same time, rhetoric often appears as an almost absolute body. We focus on mere words, sometimes forgetting that their effect comes not only from a specific rhetoric or intention of the author, but also from the audience with whom they will be confronted. In what follows, we will look at two examples which clearly show how the same rhetoric can be accepted in a very different way depending on the prevailing ethical and political discourse in which the work is understood. We will be interested in two French novels who, for different reasons, provoked drug reactions when they were published in German. We will see how the same literary expression can give rise to debates that vary according to the context in which they are received. When Les Particules élémentaires of Michel Houellebecq 2 and Les Bienveillantes of Jonathan Littell 3 made their 1 Effect described since Aristotle's Poetics as catering. ; International audience ; When we speak of rhetoric, we have in mind the strength of the word, its ability to affect those who transpose it 1, and, at the same time, rhetoric often appears as an almost absolute body. We focus on mere words, sometimes forgetting that their effect comes not only from a specific rhetoric or intention of the author, but also from the audience with whom they will be confronted. In what follows, we will look at two examples which clearly show how the same rhetoric can be accepted in a very different way depending on the prevailing ethical and political discourse in which the work is understood. We will be interested in two French novels who, for different reasons, provoked drug reactions when they were published in German. We will see how the same literary expression can give rise to debates that vary according to the context in which they are received. When Les Particules élémentaires of Michel Houellebecq 2 and Les Bienveillantes of Jonathan Littell 3 made their ...
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The Austrian writer Hermann Broch dedicated one of his most famous literary essays, at the same time endowed with a profound philosophical reflection, to Hugo von Hofmannstahl, titling it Hugo von Hofmannstahl and his time. Starting from that Brokian goal that Hofmannstahl noted as being, in the sense of ansein, and the unfolding of a real interweaving of motions and passions, of fiery expressions and interiority that often remain unacknowledged, in the same way as can often happen in writing and in art in general, the aim here is to seek a unitary and substantial convergence between historical truth and literary testimony in order to arrive at an encounter of poetic thought and Hofmannstahl's final writing, characterizing it in his time, that Zwischenkriegszeit which he reached, in his clearest poetic and philosophical reflection, just when European destinies, from a political, cultural and civil point of view, found themselves being managed in the midst of disorder and chaotic totalitarian emphasis, which came to shape the bleakest European disintegration since the French Revolution and to characterize a collective tragedy. ; Lo scrittore austriaco Hermann Broch dedicava uno dei suoi più celebri saggi letterari, al tempo stesso dotati di una profonda riflessione filosofica, a Hugo von Hofmannstahl, intitolandolo Hugo von Hofmannstahl e il suo tempo. Partendo da quel traguardo brochiano che annotò Hofmannstahl quale essere, nel senso di ansein, e svolgersi di un vero e proprio intrecciarsi di moti e di passioni, di espressioni roventi e di interiorità spesso rimaste disconosciute, allo stesso modo di come può spesso accadere nella scrittura e nell'arte in genere, si vuole qui ricercare una convergenza unitaria e sostanziale tra verità storica e testimonianza letteraria per approdare a un incontro del pensiero poetico e della scrittura finale di Hofmannstahl, caratterizzandola nel suo tempo, quella Zwischenkriegszeit cui approdò, nella sua riflessione poetica e filosofica più limpida, proprio quando le sorti europee, da un punto di vista politico, culturale e civile, si ritrovarono a essere gestite nel mezzo del disordine e della caotica enfasi totalitaria, approdata a modellare il disfacimento europeo più tetro dal tempo della rivoluzione francese e a caratterizzare una tragedia collettiva.
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In: Biblioteca di testi e studi
In: Dipartimento di Scienze Giuridiche, Università di Trento 99
Il contributo indaga la relazione tra gli ambiti retorico e medico nei dialoghi platonici attraverso la funzione di mito come 'rimedio utile'. Per Platone il mito è una via di mezzo tra verità e menzogna, salute e malattia, giustizia e ingiustizia, bene e male, e può avere una funzione educativa e terapeutica nella città ideale solo dopo una selezione 'chirurgica' dei contenuti tipici della poesia tradizionale. Inoltre, Platone critica anche la retorica e la medicina tradizionali: mentre la persuasione retorica è finalizzata unicamente a sé stessa, la medicina ippocratica non può costituire la più alta techne in quanto, contrariamente alla filosofia, concerne solo il soma e non la psyche. Il nesso retorica-medicina si complica ulteriormente se si considera la rifondazione di una 'sana mitologia', come mostra il mito della 'nobile menzogna', che costituisce un rimedio politico necessario per preservare la salute cittadina, mirando a persuadere i pazienti – governanti e cittadini – di una loro comune discendenza e dell'assegnazione di ruoli differenti nella polis. Tuttavia, nel XX secolo questa complessa intersezione tra retorica e medicina ha alimentato mistificazioni e fraintendimenti delle intenzioni platoniche, come dimostrano Popper e il dibattito conseguitone. ; The paper aims to investigate the relationship between rhetorical and medical fields in Plato's dialogues through the lens of myth as a 'useful remedy'. For Plato myth is a middle way between truth and lie, as well as health and disease, justice and injustice, good and evil. In this way, it can have both an educational and a therapeutic function in the ideal city only after a 'surgical' selection of the typical contents of traditional poetry. Plato also criticizes traditional rhetoric and medicine: while rhetorical persuasion is aimed only at itself, Hippocratic medicine is unqualified to be the highest techne because it deals only with the body and not with the soul, unlike philosophy. The rhetoric-medicine link gets more complicated considering the refoundation of a healthy mythology, as the myth of 'noble lie' shows. The noble lie constitutes a necessary political remedy to preserve city health and aims to persuade rulers and citizens (regarded as patients) to have a common ancestry and different tasks to be undertaken within the city. However, in the last century, this complex intersection between rhetoric and medicine gave rise to mystifications and misunderstandings of Plato's intentions, as Popper and the following debate demonstrates.
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In: La cultura della comunicazione 82
In: Testi e studi di letteratura italiana 4
In: Biblioteca di cultura 266
Leopardi and the Italian language between tradition and modernity. The essay aims to illustrate the Leopardi's ideas on the crisis of the Italian language and culture of the early nineteenth century, marked by an intellectual provincialism that did not allow it to participate adequately in the development of the sciences and philosophy that characterized Europe 18th century. The lucid and disenchanted criticism of the problems affecting Italy of the Restoration is reconstructed: the gap between spoken and written language, between literature and science and between high culture and popular culture, the lack of civic sense and social cohesion, the scarce development of public opinion, cultural backwardness, lack of modernization of the language. Leopardi's critical position also has political and social significance and presents elements of evident relevance which are still of great interest to the readers of the 21st century.
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In: Semiotica e filosofia del linguaggio N. 16
In the last decade, the media presence of the young couple Fedez and Chiara Ferragni had seen such an increase that made them become real digital celebrities. Their public exposure is contributing to create expectations that situate them in the collective imagery as influence leaders capable of framing political issues. Starting from the studies that take into consideration celebrity politics, this text analyzes the use of rhetoric agreements and emotions by the couple, paying particular attention both to the type of consensus established between follower and influencer and to the potential scenarios of using virtual consensus for political outcomes. ; Nell'ultimo decennio, la presenza mediatica della giovane coppia Fedez e Chiara Ferragni è cresciuta a tal punto da farli diventare delle vere e proprie celebrità digitali. La loro esposizione pubblica sta contribuendo a creare un clima di attesa che li colloca nell'immaginario collettivo come leaders di influenza in grado di formulare interpretazioni su questioni politiche. Partendo dagli studi che prendono in considerazione la celebrity politics, questo testo analizza l'uso degli accordi retorici e delle emozioni da parte della coppia, prestando particolare attenzione sia al tipo di consenso instaurato tra follower e influencer sia ai potenziali scenari di utilizzo del consenso virtuale a scopo politico.
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