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[Abstract]
[Abstract]
본문내용
, Theresa, ed. Encyclopedia of Rhetoric and Composition. New York: Garland Publishing, Inc., 1996.
Erasmus, Desiderius. De Copia. Trans. Betty I. Knott. Toronto: U of Toronto P, 1978.
______. Ciceronianus. Trans. Izora Scott in his Contorversies over The Imitation of Cicero. New York: Colombia UP, 1910.
Fraunce, Abraham. The Arcadian Rhetorike. Ed. Ethel Seaton. Oxford: Basil Blackwell, 1950.
Harvey, Gabriel. Ciceronianus. Trans. Clarence A. Forbes. U. of Nebraska Studies, 1945.
Hermogenes. On Types of Style. Trans. Cecil W. Wooten. Chapel Hill: U of North Carolina P, 1987.
Holderness, Graham et al. Shakespeare: Out of Court. New York: St. Martin's Press, 1990.
Kelley, Donald R. Renaissance Humanism. Boston: Twayne Publishers, 1991.
Mack, Peter. Ed. Renaissance Rhetoric. London: St. Martin's Press, 1994.
Miller, Perry. The New England Mind: The Seventeenth Century. Boston: Beacon Press, 1965.
Ong, Walter J. Ramus, Method, and the Decay of Dialogue. Cambridge, Mass. : Harvard UP, 1983.
Peacham, Henry. The Garden of Eloquence. Ed. William G. Crane. Gainsville, Florida: Scholars' Facsimiles & Reprints, 1954.
Puttenham, George. The Arte of English Poesie. Kent, Ohio: The Kent State UP, 1970.
Rhodes, Neil. The Power of Eloquence and English Renaissance Literature. Hemel Hempstead: Harvest Wheatsheaf, 1992.
Sloane, Thomas O. Ed. Encyclopedia of Rhetoric. Oxford: OUP, 2001.
[Abstract]
The Development of Renaissance Stylistics and Court Culture
WooSoo Park
At the core of Renaissance Humanism was the belief in the power of eloquence. Eloquence was understood in the Renaissance as the effects of speech and verbal expressions upon the audience. Right from the start of the period elocutio finds most attention in the works of such humanists as Lorenzo Valla and Desiderius Erasmus among others. The so-called "rhetorical culture" pervades all areas of cultural production. For the rhetorical humanists, the art of speaking well, or the art of expressing oneself well, was the major way to distinguish cultured people from barbarians and beasts. Hence it is quite natural that the sword of aristocratic heroism was replaced by the tongue of the beau-semblant courtiers. The ideal Renaissance man was supposed to be an Odyssey well-adapting himself to a given time and place, or in other words, to a rhetorical situation. This man of "polytropos" was the man of many turnings and tropes. Just as the courtly ladies gain acceptable beauty only by richly ornamented garments, so it is stylistic ornaments of fresh and variegated colors that make the courtiers get advanced in the court. And the court was the center of rhetorical culture, while this culture and the art of abundant expressions were restrained and supplemented by the concept of decorum. The wit of brave expressions went in parallel with the judgement of right use. In fine, the Renaissance emphasis on rhetoric as a style reflects the socioaesthetic needs of "civic humanism" of the gentle courtiers and secretaries.
Erasmus, Desiderius. De Copia. Trans. Betty I. Knott. Toronto: U of Toronto P, 1978.
______. Ciceronianus. Trans. Izora Scott in his Contorversies over The Imitation of Cicero. New York: Colombia UP, 1910.
Fraunce, Abraham. The Arcadian Rhetorike. Ed. Ethel Seaton. Oxford: Basil Blackwell, 1950.
Harvey, Gabriel. Ciceronianus. Trans. Clarence A. Forbes. U. of Nebraska Studies, 1945.
Hermogenes. On Types of Style. Trans. Cecil W. Wooten. Chapel Hill: U of North Carolina P, 1987.
Holderness, Graham et al. Shakespeare: Out of Court. New York: St. Martin's Press, 1990.
Kelley, Donald R. Renaissance Humanism. Boston: Twayne Publishers, 1991.
Mack, Peter. Ed. Renaissance Rhetoric. London: St. Martin's Press, 1994.
Miller, Perry. The New England Mind: The Seventeenth Century. Boston: Beacon Press, 1965.
Ong, Walter J. Ramus, Method, and the Decay of Dialogue. Cambridge, Mass. : Harvard UP, 1983.
Peacham, Henry. The Garden of Eloquence. Ed. William G. Crane. Gainsville, Florida: Scholars' Facsimiles & Reprints, 1954.
Puttenham, George. The Arte of English Poesie. Kent, Ohio: The Kent State UP, 1970.
Rhodes, Neil. The Power of Eloquence and English Renaissance Literature. Hemel Hempstead: Harvest Wheatsheaf, 1992.
Sloane, Thomas O. Ed. Encyclopedia of Rhetoric. Oxford: OUP, 2001.
[Abstract]
The Development of Renaissance Stylistics and Court Culture
WooSoo Park
At the core of Renaissance Humanism was the belief in the power of eloquence. Eloquence was understood in the Renaissance as the effects of speech and verbal expressions upon the audience. Right from the start of the period elocutio finds most attention in the works of such humanists as Lorenzo Valla and Desiderius Erasmus among others. The so-called "rhetorical culture" pervades all areas of cultural production. For the rhetorical humanists, the art of speaking well, or the art of expressing oneself well, was the major way to distinguish cultured people from barbarians and beasts. Hence it is quite natural that the sword of aristocratic heroism was replaced by the tongue of the beau-semblant courtiers. The ideal Renaissance man was supposed to be an Odyssey well-adapting himself to a given time and place, or in other words, to a rhetorical situation. This man of "polytropos" was the man of many turnings and tropes. Just as the courtly ladies gain acceptable beauty only by richly ornamented garments, so it is stylistic ornaments of fresh and variegated colors that make the courtiers get advanced in the court. And the court was the center of rhetorical culture, while this culture and the art of abundant expressions were restrained and supplemented by the concept of decorum. The wit of brave expressions went in parallel with the judgement of right use. In fine, the Renaissance emphasis on rhetoric as a style reflects the socioaesthetic needs of "civic humanism" of the gentle courtiers and secretaries.
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