This paper provides a review of the history of terms which were used in Croatian literary criticism and folkloristics to name oral rhetorical genres (counting-out rhymes, tongue-twisters, blessing, ...curses, verbal charms, toasts and mocking rhymes). Relative terminological stability is currently maintained in that the terms used in contemporary research are seemingly synonyms: retorički/govornički žanrovi (rhetorical/oratorical genres) or usmenoknjiževna retorika /govorništvo (oral literary rhetoric/oratory).
Concepts that were propounded by the Russian contemplator Mikhael Bakhtin based on his literature reviews, such as dialogue, dialogy and carnivalesque are also used in studies on popular culture. ...According to Bakhthin, at the carnival, a public culture which is positioned as an opposition to the official culture, carries the laughter, the collective life rhythms of the nature and the resistance and functions of the body to language and literature. Carnival square is a public conscience which reveals itself as a ridicule to every kind of official position and seriousness, overturning all hierarchies, celebration of all kinds of violations of conduct codes by profanity, insults and vulgarity, and all extremes of physical appetite. Bakhtin explains that all “semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world. “Semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world and some of them are direct literary variations of direct verbal carnivalesque-folk genres. The rhetorical elements are found in all half serious - half humorous genres and has a heterophonic nature; a multi pitched narration and intertwined genres and styles are frequently seen. Musician Karahan Kadırman, in his performances entitled “Muzika-Retorika”, uses a style which he establishes a dialogue with the audience. Kadırman defines Müzika-Retorika as a genre in which individuals discuss “similarities and differences, the society that freezes these similarities and differences, politics which legalize and sometimes shatter these similarities and differences, the psychology and the ethics that fluctuate within these similarities and differences” and the musician performs with multi instruments on the “field” sounds that were recorded during these discussions. According to Kadırman, “to form a multi-genred association as a protest against popular and customary within the urban music culture, by means of ortaoyunu (a eulogy show in ottoman culture and entertainment life), cabarets, musicals, performance arts, minstrel traditions and other art disciplines, encouraging to speak on what cannot be spoken and criticizing the authoritarian structure is important”. The aim of this study is to analyze Musical Rhetoric within the contexts of Carnival and dialogue.
Straipsnyje glaustai pristatomi Žygimanto Liauksmino (1597-1670) gyvenimo ir kūrybos svarbiausi bruožai. Svarbiausiame jo darbe „Iškalbos praktika, arba retorikos meno taisyklės“, skirtame oratoriaus ...kalbos analizei, juntama stipri atgimimo epochos dvasia. Jis kritikuoja įsigalėjusį barokinį kalbos stilių, kelia gimtosios kalbos vartojimo svarbą, reikalauja plėtoti mokslą ir meną pagal gamtos dėsnius. Mokslininko nuomone, visur turi vyrauti logika, blaivus protas ir nuoseklumas. Ž. Liauksmino darbe jaučiama tam tikra scholastinės argumentacijos kritika. Jis daug prisidėjo prie iškalbos, mokslinių ginčų teorijos, mokslinio mąstymo ir kalbos kultūros ugdymo.
The purpose of the analysis of the rhetorical question in Job 40: 1-28 is to look at theological and practical implications. Theologically: 1) Everything under God's control. Including Job with all ...the agonizing suffering he experienced remained under God's control; 2) Keep believing in God even if you do not feel His physical presence; 3) Behind the suffering of the righteous man is the divine will of God. God never allows anything to happen to believers, without God's purpose in it. In suffering there is God's gracious will, in God's will, there is His grace. So believers can reach His great purpose and plan. Practically: 1) God is big, strong and we are small, weak. Let believers keep giving thanks to God even in suffering, then pray (ask) to God for strengthening us when we face the tests of faith; 2) Live honestly and humbly. Do not despise or judge a person for not having the spiritual experience that Ayub once experienced. For the Lord opposes the proud and the pity of the humble; 3) Rely completely on God. In both temptation and suffering, there is nothing better that believers can do than always depend entirely on God.Abstrak. Tujuan analisis pertanyaan retorika dalam Ayub 40:1-28 ini adalah untuk melihat implikasi teologis dan praktis. Secara teologis: 1) Segala sesuatu di bawah penguasaan dan kendali Tuhan. Termasuk juga Ayub dengan segala penderitaan berat yang dialaminya tetap berada di bawah penguasaan dan kendali Tuhan; 2) Tetaplah percaya pada Tuhan walau tidak merasakan kehadiran-Nya secara fisik ; 3) Di balik penderitaan orang saleh terkandung kehendak Allah yang rahmani. Tuhan tidak pernah mengizinkan sesuatu menimpa orang percaya, tanpa maksud Tuhan di dalamnya. Di dalam penderitaan ada kehendak Tuhan yang rahmani, di dalam kehendak Tuhan ada anugerah-Nya, sehingga orang percaya bisa mencapai maksud dan rencana-Nya yang agung. Secara praktis: 1) Tuhan itu besar, kuat dan manusia kecil, lemah. Hendaklah orang percaya tetap bersyukur kepada Tuhan sekalipun dalam penderitaan dan berdoalah (mintalah) kepada Tuhan agar Ia menguatkan saat-saat menghadapi ujian-ujian iman; 2) Hiduplah jujur dan rendah hati. Janganlah memandang rendah atau menghakimi seseorang karena tidak memiliki pengalaman rohani seperti yang dialaminya. Sebab Tuhan menentang orang sombong dan mengasihani orang yang rendah hati; 3) Bergantunglah sepenuhnya kepada Allah. Dalam pencobaan maupun penderitaan, tidak ada yang lebih baik yang dapat dilakukan orang percaya selain bergantung sepenuhnya kepada Allah.
Artikel ini berjudul Wacana Raksasa Rahwana Dasamuka dalam “Dibawah Bendera Revolusi“. Bung Karno adalah presiden pertama Republik Indonesia yang produktif menulis atau mengarang. Bahasa yang ...dimanfaatkan dalam karangannya terikat konteks. Kata dan gaya bahasa yang digunakan dalam karangannya merupakan wujud aksi dan reaksi terhadap konteks kondisi sosial, ekonomi dan politik yang memprihatinkan sebagai akibat sistem ekonomi kapitalis yang dijalankan penguasa asing-Belanda. Artikel ini bertujuan memberikan paparan faktual, obyektif dan ilmiah tentang “pemikiran, sikap dan gaya” Bung Karno dalam membahasakan raksasa Rahwana Dasamuka (selanjutnya disingkat RRD) dalam tulisan-tulisannya. Sampel yang dijadikan wilayah perburuan untuk memotret gaya membahasakan wacana RRD adalah teks-teks buah pikiran Bung Karno yang dikumpulkan menjadi satu buku dengan judul “Dibawah Bendera Revolusi“(DBR). Tulisan Bung Karno yang terhimpun dalam buku DBR berbentuk retorika persuasif. Wacana yang dimanfaatkan sebagai senjata persuasif antara lain adalah wacana RRD, simbol Kapitalisme, Imperialisme, dan Kolonialisme-Imperialisme. Wacana RRD digelar untuk membangun resistensi terhadap penjajah, yaitu pemerintahan asing-Belanda di Indonesia ketika itu. Jenis kata yang dimanfaatkan untuk menghidupkan wacana RRD adalah kata benda, kata kerja, kata sifat, kata seru, kata bilangan dan kata ganti orang. Kata-kata yang berjenis apa pun dan dari ragam, bidang serta bahasa mana pun, selama fungsional-produktif untuk membangun struktur wacana (sistem makna atau cara pandang yang diinginkan) RRD cenderung dimanfaatkannya. Dalam wacana RRD, Bung Karno dominan memanfaatkan metafor, seperti personifikasi, ironi, sinisme dan sarkasme. Gaya bahasa hiperpola, repetisi, erotesis dan antitesis pun dimanfaatkannya. Semua gaya bahasa tersebut dimanfaatkan untuk membangun struktur wacana Raksasa Rahwana Dasamuka. simbol kejahatan dan keserakahan yang harus ditumpas. Dengan pilihan kata dan gaya bahasa tersebut, Bung Karno seperti menyediakan cara membaca, dan cara menyikapi RRD sebagai jelmaan kapitalis-imperialis. Pikiran, sikap dan perilaku gemas, dongkol dan garang pembaca seperti dibentuk dan dirahkan ke “buto” Raksasa Rahwana Dasamuka simbol keserakahan dan kejahatan.
Rhetorical skills are important for preachers because the word of God is spread by speech. From the beginning of Christianity and Saint Augustine, it has been emphasized that eloquence can help ...preachers reach the faithful. The paper analyses and compares sermons of the two largest Christian faiths: Roman-Catholic and Protestant, to determine whether there are significant rhetorical differences between their preachers. Descriptive rhetorical analysis of sermons was conducted, which included the structure, style (choice of words and figures), and speech delivery (use of nonverbal and prosodic signs during sermons). The analysis showed that there are certain rhetorical differences between preachers, but they are conditioned more by the rhetorical skills of an individual preacher than religious affiliation.
Dalam kaitannya dengan komunikasi searah, bahasa sering
dipergunakan oleh para dai dalam berdakwah di hadapan para jamaahnya.
Selain kampanye politik dan dakwah atau ceramah, praktik penggunaan
...bahasa sebagai alat komunikasi searah yang berpengaruh adalah khutbah
Jum’at. Pada setiap khutbah, terdapat gaya bahasa tersendiri yang berfungsi
sebagai ciri dari kegiatan berkhutbah, dengan penyesuaian pada waktu
diadakannya khutbah. Dalam hal ini, gaya bahasa menjadi penting karena
bahasa adalah suatu alat komunikasi efektif yang berpengaruh dan
mempengaruhi serta sebagai cerminan dari jiwa dan kepribadian dari
penutur yang hendak disampaikan kepada mitra tuturnya. Gaya bahasa
yang paling sering muncul dalam teks khutbah Jum’at berbahasa Arab
adalah gaya bahasa pertanyaan retorika atau Erotesis, tetapi selain itu ada
gaya bahasa Percakapan, Antiklimaks, dan Paralelisme.
U prvom dijelu članka autorica donosi najvažnije podatke o dominikancima koji su u hrvatskoj prve samostane osnovali u 13. st. Jedan od njihovih članova bio je Frano Baldić koji je u 19. st. vršio ...službe u šibenskom, trogirskom, čiovskom i splitskom samostanu, gdje se čuva njegova pisana ostavština u kojoj su i rukopisi tridesetak propovijedi čiji se naslovi navode u radu. Autorica u središnjem dijelu članka analizira odabrane propovijedi s književno-stilističkog aspekta kako bi pokazala da se Baldić, kao vrstan govornik, premda nije imao književne aspiracije, svojim fantastičnim prizorima i pjesničkim opisima približio estetski vrijednoj književnosti. Analiza ukazuje na to kako se u njegovim propovijedima nalazi čitav niz retoričkih i pjesničkih figura koje su bliske baroknoj poetici.
The article analyses Paul’s Epistle to the Galatians according to the principles of rhetorical criticism. This approach to biblical text has become prominent in the last four decades. Early adherents ...of this method worked under the assumption that Paul wrote in conformity with the then known manuals of rhetoric. To that effect, the introduction of the article questions the relationship between Paul’s epistles and the ancient rhetoric and literary world. It also analyses the possibility of accepting a broader understanding of rhetoric offered by the modern study of the discipline. The introduction is concluded by the question of the relationship between rhetoric and epistolography, as well as the question of partition of the rhetorical act and its application to the Epistle to the Galatians. It is followed by the analysis of the main rhetorical elements of the Epistle to the Galatians, which will, due to the limited space, be continued in a future issue of this journal.