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The loss of the mother tongue and the acquisition of French as the language of her writing play a capital role in the theoretical and literary work of Julia Kristeva. This paper aims to analyze Kristeva's ideas on bilingualism and language loss as well as their historical and ideological context by using the latest scholarship on literary multilingualism. Special attention will be paid to Kristeva's concept of language and the individual as strangers to themselves. Additionally, this paper endeavors to establish a channel of communication between Kristeva's ideas and the theories of intercultural hermeneutics, a school which proposes reading foreign literary texts as a means of unearthing the prejudices of our own culture while approaching the world of the text respecting its irreducible otherness. [ABSTRACT FROM AUTHOR]

In books of rhetoric, me'ânî, beyan and bedi available in three episodes, and literary arts is explained in the beyan and bedi section. Literary arts in chapter of bedi are discussed understanding in two groups as expression and basis; is the art of mürâ'ât-ı nazîr the foremost of arts of meaning. This art, in our classic literature is often known as tenâsüb, sometimes mürâ'ât-i nazir with the tenâsüp is perceived as two different art would lead to a classification of the observed. This art not addressed under a single name in various books of rhetoric and in others mürâ'ât-i nazir and in others are given under the title of the tenâsüb. In addition, as the arts of teşâbüh-i atraf and iham-ı tenâsüp are often described as the sub-title of this art. This art has been called also as tevfik, telfik, i'tilâf, cemiyet. In a couplet similar words be tenâsüb or mürâ'ât-i nazir, are considered see junk with a random choice. This however, a mistake can cause as almost there two different art. Therefore, the description and classification of this art, from books of eloquence should examining comparative in the table. In this article, describes and classifications on mürâ'ât-i nazir, from selected certain eloquence of books examined are introduced and shown as a table. [ABSTRACT FROM AUTHOR]

This paper argues that Hume's essay, "Of Eloquence," should be read as part of a Scottish Enlightenment attempt to accommodate the sublime to commercial modernity. Hume inherits the sublime of ancient oratory not as a matter for narrow stylistic regulation--to be rejected in a new age of politeness, as some have argued--but as a moral problem at the heart of modern subjectivity. Hume looks to taste to regulate and contain the sublime, but it is Adam Smith who solves the problem of the sublime by recouping its excess as a mark of the possibilities for virtue in the modern age. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of the play "The Tragedy of Master Arden of Faversham," whose author is unknown. It discusses the use of a female hero who, despite having no background in formal rhetoric, emerges as eloquent through her complete engagement with the immediate context. It notes the concept of kairos, a Greek term which refers to an aspect of time based upon occasion rather than chronology, as a conceptual basis for a female form of eloquence.

Este ensayo examina la novela Rinconete y Cortadillo de Cervantes para ilustrar que las prácticas comunicativas populares y de la élite en el texto resisten nuestras expectativas, revelando su coexistencia en unas relaciones no jerárquicas que superan los límites del texto. Mi acercamiento se inspira en el trabajo de los estudiosos de la cultura áurea como Fernando Bouza y Roger Chartier. Defino las prácticas comunicativas de la novela en un sentido amplio: la oralidad, la escritura, la elocuencia, los naipes, los textos impresos y manuscritos y finalmente la convergencia de los géneros de la picaresca y la novela corta. Con respecto al texto como objeto, examino el libro de memorias de Monipodio y la novela manuscrita (Rinconete y Cortadillo) en Don Quijote y en la recopilación de Porras. Propongo que la localización en Sevilla crea una matriz creíble en que coinciden la criminalidad y el alfabetismo. Asimismo, Cervantes presenta el crimen como una inscripción en la red urbana y este modo de escritura produce una autoría alternativa. Mi estudio revela la manera en que, en este mundo ficticio, Cervantes explora la relevancia duradera de estas prácticas comunicativas entre sí y reta nuestras definiciones de la alfabetización y la elocuencia. [ABSTRACT FROM AUTHOR]

Focuses on the evidence of travel in Pannonia by Ibn Rusta to suggest that a melange of oral reports formed the source for the passage on the Rus. Information on Ibn Rusta; Opinion on Kitab al- A`laq al-nafisa; Information on Rus; Different features of Ibn Rusta's passage on the Russiya; Information on Andre Thevet.

Focuses on a chapter in the book `Tarjuman al-balagha,' for which there are no straightforward older Arabic parallels. Elements of eloquence; Concepts which can be found in Arabic poetics; Common feature in Arabic hija; Information on several authors who mentioned al-Zanjani as the one who first introduced the topic in ilm al-badi.

The article presents an analysis of the rules used in journalistic writing. The author focuses on the use of first person in written news, as well as other style rules. An historical review is presented, which places its origins at the 18th Century with the publication of the treaties of rhetoric and eloquence. Most of the authors at that time resumed their work to argumentative articles with strong political and didactic content. Reference is made to the later works with recommendations and guidelines for writing of journalistic material.

Describes the ways in which the poem "Paradise Lost," by John Milton attempts to define and to practice a reformed eloquence, a rhetoric dependent on classical and humanist conventions, but stripped of the duplicity characteristic of Satan's discourse. Use of Raphael to rework expressions of authoritarial inability; Patterns of questioning and correction; Prominence of rhetorical questioning in the demonic rhetoric of the poem.

The article comments on the character Milo's invitation to Lucius in the book "Metamorphoses" by Apuleius. The author suggests Milo is trying to prove his eloquence by improvising poetic verse, and demonstrating his literary ability by not speaking prose. Finally, the author argues Milo has chose the wrong poetic meter.