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Maria, uirgo ante conceptum, uirgo post partum. Structure and Argument in Augustine’s Nativity sermon 191

100%
Van Neer J.
Eirene. Studia Graeca et Latina
|
2015
|
vol. 51
|
issue 1-2
143-170
EN
At first sight, it is not easy to identify the structure and argument of Nativity sermon 191. Augustine does not make explicit the steps he takes in this sermon and, furthermore, the existing arrangement into sections (derived from the Maurists’ edition) does not correspond to these steps. It is, however, possible to identify the structure and argument on the basis of a relatively quick and easy twofold method, which examines the text for use of language (changes of sentence type, unusual particle order, and uncommon word and/or constituent order) and for use of Scripture (changes in Scriptural texts and/or quotations or clusters of Scriptural references). If the markers pointing to transitions uncovered by analysing the use of language are identical to the markers pointing to transitions uncovered by analysing the use of Scripture, these are markers pointing to transitions between parts of the text. In sermon 191, this method results in a division into three internally coherent parts, in which a central didactic moment is preceded by a preparation and followed by a confirmation. The central didactic moment expresses suggestions that must be adopted if a person is to be able to change his (or her) inner disposition from pride to humility. The information contained in the preparation for the didactic moment sets the hearer on the path towards this moment, while the information contained in the confirmation of the moment inspires the hearer to put its teachings into practice. This division into three parts clarifies the structure of the sermon. This structure cannot be discerned on the basis of the traditional rhetorical rules, which Augustine incidentally also repeats elsewhere (although not without qualifying them). The tripartite division also clarifies the argument. Understanding and recognising this trains a spotligh on the force of Augustine’s strategy as a preacher.
2
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La peculiarità del linguaggio giornalistico sportivo in base all’analisi degli articoli della Gazzetta dello Sport

84%
Murrmann J., Surmaj P.
Italica Wratislaviensia
|
2015
|
issue 6
197-216
EN
This paper focuses on the language of sports in the press, and its objectives are to analysethe specific linguistic features of the language of sports, to describe their function and to assert their possible impact on sports fans. By means of content analysis, a corpus of articles from a popular Italian sports newspaper, La Gazzetta dello Sport, was investigated in order to examine the stylistic properties typical of the language of sports. Indeed, all of the features described in this article’s review of literature on the language of sports were richly present in the corpus under scrutiny. Their role consists in forming opinions, creating attitudes and arousing emotional reactions among readers.
IT
L’obiettivo del presente articolo consiste nell’analisi dei caratteri linguistici tipici del linguaggio dello sport nella stampa italiana, nella descrizione della loro funzione e nella spiegazione della loro possibile incidenza sui tifosi-lettori. Dopo una rassegna critica della bibliografia concernente il linguaggio dello sport si presentano i risultati di un’analisi quantiqualitativa del corpus composto dagli articoli tratti dal quotidiano sportivo italiano La Gazzetta dello Sport. È significativo che nel corpus sottoposto a scrutinio si sia riuscito a constatare la presenza di tutti i mezzi stilistici descritti nella parte teorica. Essi sono dotati di una spiccata funzione espressiva, contribuiscono alla formazione dell’opinione, servono a suscitare reazioni, sentimenti e atteggiamenti ben precisi fra i lettori.
3
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Pirandello, czyli jak nie dowierzać swojej rzeczywistości

67%
Sławek T.
Fabrica Litterarum Polono-Italica
|
2022
|
issue 4
1-32
IT
Il testo è un tentativo di presentazione dell'estetica di Pirandello come sofisticata eredità dell'estetica delle rovine nella tradizione italiana, di cui Giovanni Battista Piranesi ne fu un grande rappresentante. Così, come afferma Umberto Eco, attraverso l’estetica è possibile osservare il cambiamento radicale del concetto di perfezione formale e completezza di un’opera d’arte nella scrittura del drammaturgo italiano. Inoltre, l’estetica permette di far provare piacere pur rappresentando la distruzione. La citazione di Diderot, in cui il filosofo francese sostiene che una bozza possa essere più bella di un dipinto già completato, poiché in esso vi è più vita e meno forma, potrebbe fungere da importante via interpretativa per l’opera di Pirandello. Così, una bozza diventa più interessante di un’opera finita. La letteratura ha il controllo sulla forma, e dunque sul linguaggio, ma come dimostra Pirandello, la letteratura è una fredda istituzione incapace di contenere il calore e il palpito della vita che sempre sfugge alla giurisdizione letteraria. L’opera di Pirandello è dunque un episodio importante nella storia del razionalismo occidentale, che critica i tentativi falliti della storia di costruire un mondo secondo i principi del funzionamento della razionalità e del buon senso.
EN
The essay attempts to present Pirandello’s esthetics as an heir of Piranesi’s esthetics of the ruin. As Umberto Eco claims, a turn towards fragments allows for abandoning the idea of the work of art as an accomplished whole, what is more, it locates the esthetic pleasure in a contemplation of a whole destroyed and fragmented. Thus, a draft becomes more interesting than a finished work. Literature holds control over form, that is over language, but – as Pirandello demonstrates – literature is a cold institution unable to contain the warmth and pulsation of life which always slips out of literature’s jurisdiction. Hence Pirandello’s work is an important episode in the history of Western rationalism and aims its critical edge against the failed attempts to construct a world according to the working principles of rationality and common sense.
PL
Szkic pragnie przedstawić estetykę Pirandella jako finezyjne dziedzictwo estetyki ruin, której świetnym przedstawicielem we włoskiej tradycji był Giovanni Battista Piranesi. Pisze o tejże estetyce Umberto Eco, że to, co dostrzegamy w pisarstwie włoskiego dramaturga: „zmienia ona radykalnie koncepcję doskonałości formalnej i całkowitości dzieła sztuki”, co więcej – „dopuszcza znajdowanie przyjemności w dziele sztuki mimo tego (a może dzięki temu), że przedstawia ono zniszczenie”. A wszystko sumuje na tej samej stronie cytat z Diderota: „dlaczego piękny szkic urzeka nas bardziej od skończonego obrazu? Bo więcej w nim życia, a mniej formy. Kiedy pojawiają się formy, zanika życie”. Ten sąd francuskiego filozofa mógłby posłużyć jako ważny szlak interpretacyjny dzieła Pirandella. Instytucja literatury sprawuje władzę nad formą, a więc i nad językiem. Ale jak wynika z rozważań Pirandella, literatura jest instytucją zimną. Litera nie jest w stanie utrzymać ciepła życia, racjonalność nie radzi sobie z „mętami” życia. A ponieważ historia powierza się literze, przechowuje się i przekazuje za jej pośrednictwem, przeto życie zawsze wymknie się z jej jurysdykcji. Dzieło Pirandella to ważny epizod w wielkiej historii zachodniego racjonalizmu, akcentujący to, iż historia to dzieje wysiłków, na ogół niezbyt udanych, do skonstruowania świata wedle zaleceń rozumności.      
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