Year-on-year trends in research outputs show increases in research activity as the date of the research assessment exercise—in
New Zealand the Performance-Based Research Fund (PBRF)—looms. Moreover, changes with time in the number and types of conference
presentation indicate that the vehicle of publication is also being influenced by the PBRF. Within New Zealand business schools,
relating the published journal articles to the Australian Business Deans Council rankings list shows a trend towards more
publications of lower rank, raising doubts about whether the rhetoric about the PBRF raising the quality of research is really
justified. This ‘drive’ towards increasing numbers of research outputs is also fostered by an increasing trend towards co-authorship
in publishing across all disciplines.
The present paper intends to highlight some aspects of Cicero’s speech in defence of Marcus Caelius Rufus on 4 April 56 BC on the first day of the Ludi Megalenses. In 56 BC, as a result of peculiar coincidence of political and private relations, Cicero was given the opportunity to deal a heavy blow on Clodius and Clodia in his Pro Caelio, whom he mocked in the trial with murderous humour using the means of Roman theatre, and, thus, arranged a peculiar theatre performance during the Megalensia, which anyway served as the time of the Ludi scaenici. After outlining the circumstances of the lawsuit (I.) and the background of the Bona Dea case that sowed the seeds of the conflict between Cicero and the gens Clodia (II.) in our paper we intend to analyse the rhetoric situation provided by the Ludi Megalenses and genially exploited by Cicero (III.) and the orator’s tactics applied in the speech in defence of Caelius (IV.).
Authors:Pál Heltai, Carlo Marzocchi, Borbála Richter, and Albert Vermes
Vuorikoski, A-R. 2004. A Voice of its Citizens or a Modern Tower of Babel? The Quality of Interpreting as a Function of Political Rhetoric in the European Parliament. Acta Universitatis Tamperensis 985 (diss.). Tampere: University of Tampere
In 386, shortly after his conversion, Augustine gave up his post as professor of rhetoric at Milan to devote himself, together with a group of relatives, friends and students, to the otium philosophandi in Cassiciacum. There, together with his familia, he deals with questions of classical philosophy. The discussions that Augustine led at this time formed the basis for the Dialogues of Cassiciacum Contra Academicos, De beata vita, and De ordine, which had just taken place thereafter.
In the introduction of De beata vita, which is dedicated to Theodorus, Augustine compares the human life with a stormy sea. The salvation of man is the port of philosophy, from where one reaches the mainland of the beata vita. The metaphor is very detailed. A central spot in the entire picture is dominated by the inmanissimus mons, which is located in front of the harbor and presents a great danger to sailors.
There is no clear interpretation of this passage in the secondary literature. The aim of the present text is to propose in parallel reading of two passages from Confessiones with De beata vita to explain the image of the huge mountain as a metaphor for Neoplatonism.
This study deals with Celtis’ practice of rewriting and recontextualizing his own poetry. His poem To the literary odality of Hungarians (Ad sodalitatem litterariam Ungarorum, Odes II.2), addressed to a Hungarian ‘coetus’ (not a ‘sodalitas’) was first published in 1492. Through a detailed analysis of the poem, I claim that this ode was not directed to an academic circle of friends in Buda, but rather to the ‘bursa Hungarorum’ at the University of Cracow. As Celtis took up teaching in Ingolstadt in the spring of 1492, he published the Epitoma, which contained his course material on rhetoric from Cracow, and contained five poems, including this poem, which he composed while still in Poland. Consequently, it cannot be regarded as a proof of the continuity of academic thought between the Neo-platonic circles of King Matthias (1485-1490) and the Vienna-centered Sodalitas Danubiana of 1497. Around 1500, to please his Hungarian aristocratic friends in the Sodalitas Danubiana, he revised the same poem in Vienna and added it to the cycle of his Odes.
The paper aims at presenting a comparative review of current Slavic literature (and related fields) as reflecting contemporary
gender and feminist issues. In various parts of Slavdom the processes of awakening or revitalizing gender awareness have been
taking place with various speed and 'local colour': in the former Yugoslavia since the end of the 1970s, in Russia since the
second half of the 1980s (one should not speak about 'former Soviet Union' in this context, since the 'feminist revival' concerned
mostly some Moscow circles), with the rest of the Slavic post-communist world responding to them sooner or later after 1989.
They have faced a strong backlash everywhere, both from conservative/nationalist/populist discourses, as well as - though
in different forms and expressed in different rhetoric - from the liberal/democratic/progressive ones. It is of crucial importance
to enhance the mutual awareness of gender issues within the whole post-communist world, as well as exchange information and
launch international projects concerning relevant topics.
This article suggests a new analysis of Jean-Paul Sartre’sQu’est-ce que la literature? (1948) by examining a densely intertextual passage in the text where Sartre associates words with sickness. By the ‘sickness”
of words Sartre understands not only wartime ideological contamination of language but also modern literary expression in
some of its forms. The hyperbolic statement that is, in itself, marked by wartime rhetoric includes amongst its references
a satiric comment on Georges Bataille’sL’Expérience intérieure (1943).
The aim of the article is to think out the association between the ideologically contaminated words and the literary words
in Sartre’s post-war writings. This involves, first, an explication of what the diagnosis of words consists of, that is, how
words can besick for Sartre. Second, the purpose is to investigate the ambiguity in Sartre’s statement concerning literary language. The idea
of the morbidity of literary expression is another indication of Sartre’s ambivalent relation to fiction and poetry that characterized
his whole career. The satiric diagnosis, therefore, is a symptom of a larger question of resistance to literature that can
teach us something about the persistence of literature.
In 1865 short poem “Obraz VII” (Picture VII) published by the Slovenian post-romantic poet Simon Jenko (1835–1869), paradigmatic
figures of speech (exclamation, apostrophe, and rhetorical question) subvert the presence of the speaking persona and the
subjectively modalized landscape (Stimmungslandschaft) that were characteristic of the obraz genre. Rhetoricity of the lyrical voice may be seen as the trace of the underlying traditional intertext of ruins stemming
from the early modern topos, in which the image of demolished buildings is linked to the notion of vanitas vanitatum, i.e., to the idea of the elusiveness of being, society, and culture. Jenko’s short poem is a variation within the vast and
intermedial imaginary of ruins that has been central to the fashioning of European cultural identity (viewed as the presence
of the past under permanent de- and reconstruction), especially since the eighteenth century. Compared to other variations
of the ruin motif in romanticism (e.g., Byron, Uhland, Lenau, Mickiewicz, Petőfi), Jenko’s ascetic, fragmented poem re-writes
the topos differently, through semantic undecidability that comes close to the post-modern existential condition.