The Tabula Claudiana or Tabula Lugdunensis, unearthed at Lyon in 1528, preserves part of a speech delivered to the senate in AD 48 by Claudius. The emperor pleads to admit the elites of Gallia... Show moreThe Tabula Claudiana or Tabula Lugdunensis, unearthed at Lyon in 1528, preserves part of a speech delivered to the senate in AD 48 by Claudius. The emperor pleads to admit the elites of Gallia Comata to the Roman senate. This article presents a rhetorical analysis of the speech. Modern readers have labeled the style of the speech ‘bombastic’ and ‘pedantic’, while criticizing its many historical examples. An examination of the speech in terms of inventio, dispositio and elocutio, however, demonstrates that Claudius carefully constructs the ethos of a knowledgeable and open-minded authority. It is argued that two moments of rhetorical persuasion could be distinguished: the senate meeting in Rome and the publication of the bronze inscription at the sanctuary of the Three Gauls at Lugdunum. Not much deliberative rhetoric was perhaps needed to persuade the senators to agree with their emperor; the display of the inscription, on the other hand, could be interpreted as a form of epideictic rhetoric, which may have given a significant boost to the confidence of Roman citizens in Gaul. While some senators in Rome may have disliked the lengthy historical exempla as part of the oral speech, visitors of the sanctuary in Lugdunum may have appreciated seeing Gaul included in the long history of Rome. Show less
The special issue on ‘The sociolinguistics of exclusion: Indexing (non)belonging in mobile communities’ delves into the phenomenon of exclusion as a means and outcome of social positioning within... Show moreThe special issue on ‘The sociolinguistics of exclusion: Indexing (non)belonging in mobile communities’ delves into the phenomenon of exclusion as a means and outcome of social positioning within diverse communities undergoing continual transformation due to social, demographic, political, and technological changes. Through empirical studies that critically engage with exclusionary discourse practices, this issue analyzes the semiotic means that social actors employ to presuppose and/or entail exclusion. Additionally, it explores the underlying ideological assumptions on which these choices are perceived, rationalized, justified, and/or contested as exclusionary. Show less
This chapter compares two reading lists of Greek literature, one from the Augustan Age and one from the Second Sophistic: Dionysius of Halicarnassus’ On Imitation and Dio of Prusa’s letter On... Show moreThis chapter compares two reading lists of Greek literature, one from the Augustan Age and one from the Second Sophistic: Dionysius of Halicarnassus’ On Imitation and Dio of Prusa’s letter On Training for Public Speaking (oration 18). Although several scholars have argued that the two lists are similar, this chapter argues that they are fundamentally different. Dionysius prefers Homer, Aeschylus, Sophocles, Herodotus and Demosthenes, he ignores Hellenistic and imperial writers, and he demands that his students work hard. Dio recommends Menander, Euripides, Xenophon and Aeschines, he includes orators from the Augustan Age, and he tells his addressee that laborious training is not needed. In many points Dio’s reading list corresponds more closely to Quintilian’s contemporary canon (in Institutio oratoria book 10) than to Dionysius’ On Imitation. Three factors can explain the differences between the reading lists presented by Dionysius and Dio: their audiences, the literary preferences of the Augustan Age and the Flavian Age, and the genres of their works. Dionysius’ reading list is part of a serious rhetorical treatise which foregrounds the ‘beauty’ of classical Greek literature. Dio’s reading list is presented in a light-hearted letter which adopts a more pragmatic (and at times humoristic) approach to rhetorical imitation. Show less
In this paper processes of appropriation and commodification are discussed from the perspective of subcultures and their relation to class. Dr. Martens boots are discussed as a specific case-study.... Show moreIn this paper processes of appropriation and commodification are discussed from the perspective of subcultures and their relation to class. Dr. Martens boots are discussed as a specific case-study. They were appropriated in the 1960s by British Skinheads to signify their working-classness. Besides being functional, design objects are apparently endowed with meaning and these can vary depending on different modes of appearance, on different styles. Today Dr. Martens, is primarily a fashion-item. This calls into question to what extent commercialization undermines the potential of design objects to be endowed with meaning. By critically discussing recent scholarly literature on subcultures and style I will explain how in recent decades the dynamics of the neo-liberal market economy with its emphasis on consumption, facilitated a further commodification of style-objects as desirable value-objects. What will be argued successively is that appropriation and commodification in late capitalist society might obscure but not obliterate the social realities of class that lie hidden beneath the flux of images in which we are engulfed today. Show less
The sublime plays an important role in recent publications on Greek and Latin literature. On the one hand, scholars try to make sense of ancient Greek theories of the sublime, both in Longinus’ On ...Show moreThe sublime plays an important role in recent publications on Greek and Latin literature. On the one hand, scholars try to make sense of ancient Greek theories of the sublime, both in Longinus’ On the Sublime and in other rhetorical texts. On the other hand, the sublime, in its ancient and modern manifestations presented by thinkers from Longinus to Burke, Kant and Lyotard, has proved to be a productive tool for interpreting the works of Latin poets like Lucretius, Lucan and Seneca. But what is the sublime? And how does the Greek rhetorical sublime in Longinus relate to the Roman literary sublime in Lucretius and other poets? This article reviews James I. Porter, The Sublime in Antiquity: it evaluates Porter’s innovative approach to the ancient sublime, and considers the ways in which it might change our understanding of an important, but somewhat enigmatic concept. Show less
This article discusses the critical comparison (σύγκρισις) of the styles of Demosthenesand Cicero in Longinus, On the Sublime 12.4-5. Many readers have claimed that Longinushere presents... Show moreThis article discusses the critical comparison (σύγκρισις) of the styles of Demosthenesand Cicero in Longinus, On the Sublime 12.4-5. Many readers have claimed that Longinushere presents Demosthenes and Cicero as two different models of the sublime. A detailedanalysis of the passage, however, reveals that while the two are both creditedwith grandeur (μέγεθος), they are in fact not treated on a par with respect to sublimity(ὕψος). While the style of Demosthenes is described with keywords of Longinus’ conceptionof the sublime (ὕψος), Cicero’s style is consistently associated with the qualityof diffusion (χύσις), which is closely associated with amplification (αὔξησις). Longinus’discussion of Cicero may have pleased the Roman readers in his audience, as he ispresented as a canonical author of ‘great’ literature. We argue, however, that in the end,Longinus reserves the status of sublimity for his heroes of classical Greece. Show less
This publication aims at the analysis of the performance of a corpus of Fongbe stories that I collected in three villages in the south of Benin in 1976 and 1977. The corpus consists of 37 stories ... Show moreThis publication aims at the analysis of the performance of a corpus of Fongbe stories that I collected in three villages in the south of Benin in 1976 and 1977. The corpus consists of 37 stories (57.000 words). The stories aim at children__s education. Seven stories in my corpus are similar, although told by different performers in different villages. These stories stage an identical topic, central participant and pair of agents. However, the plot is different. The analyses give insight in the degree of improvisation. The corpus consists of dramatic and comic stories. The basic topic of the stories is the diviner__s consultation of the __guardian spirit__ through Fa. The statistical analyses of the narrative discourse show a constant speech rate, with the exception of rhetorical highlights and songs. The graphics show that the performers use a pattern of pauses that functions as content marker. The performers use a single particle as the clause-final topic as well as a definite marker of a noun. The framework of the story is rudimentary, although several grammatical functions, lexical markers and rhetorical phenomena obligatorily convey parts of the plot. On the other hand, the performer uses the storyboard technique to structure the performance. __Verbal art of the Fon (Benin)__ is published by Ruediger Koeppe Verlag P.O. Box 45 06 43 50881 Cologne__Germany Show less
The book offers a detailed presentation of the ceramic sequence excavated at Tell Sabi Abyad, a late Neolithic archaeological site in northern Syria. This sequence documents the transformation from... Show moreThe book offers a detailed presentation of the ceramic sequence excavated at Tell Sabi Abyad, a late Neolithic archaeological site in northern Syria. This sequence documents the transformation from a Pre-Halaf ceramic assemblage to an Early Halaf ceramic assemblage. The author discusses and critiques existing models for explaining the rise of the Halaf pottery style, and offers an alternative based on the twin concepts of emulation and feasting. Show less
