![]() ![]() A lot of the weird words are actually just contractions. To people who are interested, here are a few things that I figured out. It's kind of like being used to c-style syntax and then going to some other convention. Keywords: persuasive discourse, classical rhetoric, rhetorical strategies, Shakespeare’s Julius Caesar.I know how you feel, but it's really not so bad. By comparing Brutus and Mark Antony’s speeches after the assassination of Caesar, it is proved the prodigious use of rhetorical strategies in Mark Antony’s oration and his persuasive argumentation. The sociocultural and political situation of Caesar’s time is revised in order to contextualise Shakespeare’s tragedy. ABSTRACT: This paper analyses Marcus Antonius’s funeral oration in Shakespeare’s play Julius Caesar as an example of the power of words in classical rhetoric. ![]() ![]() Palabras clave: discurso persuasivo, retórica clásica, estrategias retóricas, Shakespeare Julio César. Al comparar los discursos de Bruto y Marco Antonio tras el asesinato de César, se evidencia el uso prodigioso de estrategias retóricas en el discurso de Marco Antonio y su argumento persuasivo. Se resume la situación socio-cultural y política de la época de César con el fin de contextualizar la tragedia de Shakespeare. RESUMEN: En este artículo se estudia el discurso fúnebre de Marco Antonio en la obra de Shakespeare Julio César como ejemplo del poder de la palabra en la retórica clásica. Hence, this study deals with the role of perception operation/management in Brutus' manipulating attempts at political resistance to Julius Caesar's ruling, which paved the way for Caesar's assassination. This study argues that one of these concepts is perception operation/management which Shakespeare uses in Julius Caesar as a means of political and ideological propaganda in the same way as is used in the contemporary real world, which creates a close association between the play's original context and contemporary political context through contemporary interpretations. In such political and ideological environments, analysing polyphonic discourses and dialogues, critical readers can come up with some political and ideological concepts to analyse and explain the ways things happen and the reasons for why they happen. In Shakespeare's theatrical environments, his characters play their political and ideological roles in a way similar to what happens in the real world politics. Within the contexts set by New Historicism and Cultural Materialism, Shakespeare's plays, through polyphonic discourses and dialogues, create environments constructed in the relationships of his characters with one another and with the society on the basis of political and ideological considerations. As I want to highlight the issue of divisions, as well as sharing, between individuals and within an individual I have adopted the physics term “fission-fusion,” which has been used by ethology to describe dynamic social networks that periodically merge and divide, and I have reapplied it specifically to cognition in order to capture the malleable and shifting nature of the cognitive units formed.Ĭontemporary Shakespeare studies have gained a new perspective and created an unprecedented synergy in dramatic criticism with the introduction of Cultural Materialism and New Historicism as critical theories. These capacities both afford and require boundaries and flow between the constituent parts of the self, both as regards those within skull or skin, and as regards those in the world. These related notions of the mind as social, both in Renaissance fictional and factual narratives and in current cognitive science, are understood to be due to human psychophysiological capacities. I focus on the linked concepts that a multiplicity of agents can operate within a single human being, and conversely that multiple individuals can form a cognitive unit. To further ground the case, it begins with two brief overviews: firstly, on narratological approaches to drama and their particular relevance to Renaissance drama, and secondly, on various current approaches to social cognition. This analysis is supplemented by a few references to Montaigne’s Essays, whose influence on Shakespeare and concern with the nature of the mind and self are long established. This paper examines how Renaissance notions of the mind and the subject, as constrained and constituted by social means, are narrated and staged in Shakespeare’s Julius Caesar.
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