By John Buridan, Stephen Read, Hubert Hubien
The rediscovery of Aristotle within the past due 12th century resulted in a clean improvement of logical conception, culminating in Buridan's the most important entire remedy within the Treatise on Consequences. Buridan's novel remedy of the explicit syllogism laid the foundation for the research of common sense in succeeding centuries.
This new translation bargains a transparent and actual rendering of Buridan's textual content. it's prefaced by means of a considerable advent that outlines the work's context and explains its argument intimately. additionally integrated is a translation of the advent (in French) to the 1976 version of the Latin textual content via Hubert Hubien.
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Extra resources for Treatise on consequences
And in this systemic relationship of the two agonistic genres with the genre of praise and blame we recognize a foreshadowing of the future, transrhetorical, relation between rhetoric and literature. Providing more evidence for this claim is the goal of the rest of this paper. In Aristotle’s account the famous triad of the juridical, the deliberative (political), and the epideictic genres is instituted for centuries to come. The epideictic form is eccentric vis-à-vis the triadic whole of rhetorical genres under a number of rubrics, and yet it is only through its being added to juridical speech and speech at the agora that a system of rhetorical technicality can be formulated in the first place.
One cannot say THE ART OF FLIRTATION 23 the same about flirtation, which is less lexical (it is not a semantic field) and more gestural. In other words, flirtation is less about language, about saying, and is more concerned with gestures as a particular form of actio in distans. The quintessential gesture of flirtation is the view askance, always at a remove, ideally from across the room. If the lover looks deep into the beloved’s eyes, holding and fixing the gaze, the flirtatious glance is half turned away, its object uncertain, its duration often the blink of an eye.
20 The emphasis in this section of the Art of Rhetoric resides in the seemingly oblique juxtaposition of written style and agon-related style. Writing and reading are not so much seen as medial forms that are different from oral delivery or extemporization, nor are agon and the placid pleasure of being a spectator pitched directly against each other. Rather it is the agon—which happens to require orality—that is juxtaposed with writing and reading, which, for their part, exclude any agon and favor mere pleasure.
Treatise on consequences by John Buridan, Stephen Read, Hubert Hubien