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Enargeia in Classical Antiquity and the Early Modern Age: by Heinrich F Plett

By Heinrich F Plett

The current research presents an in depth therapy of the subject of enargeia at the foundation of the classical and humanist resources of its theoretical beginning. those function the root for specific analyses of verbal and pictorial works of the Classical Antiquity and the Early smooth Age. Their theoretical foundation is the culture of classical rhetoric with its vital representatives (Aristotle, Cicero, Quintilian) and their reception historical past. The ‘enargetic’ method of the humanities might be defined as rhetoric of presence and reveal, or aesthetics of proof and mind's eye. visible mind's eye performs a tremendous function within the techniques of impact in oratory, poetry, and drama of the Classical Antiquity and the Early glossy Age. Its implementations are manifested within the moment Sophistic and within the Early sleek Age, there specially within the works of William Shakespeare.

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In Nic. I, 1–2, too, Thucydides is abundantly lauded for the same story. 1) and that his criticism in Nic. I, 1–2 shows the same rhetorical-practical interest as Dionysius, viz. in the question whether or not Thucydides is a model? ] Vorgänge, lebhafte ‘malerische’ Schilderung”), we refer to H. LAUSBERG: ‘Die den statischen Charakter des Gesamtgegenstandes bedingende Gleichzeitigkeit der Einzelheiten ist das Gleichzeitigkeitserlebnis des Augenzeugen: der Redner versetzt sich und sein Publikum in die Lage des Augenzeugen’.

Paris: Société d’ Édition “Les Belles Lettres”, 1981, vol. II, chap. V: “Le style et l’art d’écrire” (pp. 711–843); Thomas O. Sloane, On the Contrary: The Protocol of Traditional Rhetoric. : The Catholic University of America Press, 1997, esp. chap. 3: “Copiousness” (pp. 56–79). 3 On ekphrasis in Antiquity cf. Paul Friedländer, Johannes von Gaza und Paulus Silentiarius Kunstbeschreibungen justinianischer Zeit. Leipzig / Berlin: Teubner, 1912 and, recently, the special issue of Classical Philology 102/1 (2007).

München: Biering & Brinkmann, 2006, pp. 165–178, esp. p. 172. 1) the accent is rather on the phantasia, which he views as activated in such a way that the orator “sees” what he is speaking about and presents it to the eyes of the listeners. This vivid immediacy is therefore completely fictive. For this reason enargeia can be viewed as the basic presupposition for the constitution of the artes—of poetry, the visual arts and music—and for their rhetorical foundation in poetics and theories of art and music.

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