What are rhetorical discourses made of?
DOI:
https://doi.org/10.19137/anclajes-2020-2439Keywords:
Rhetoric, Contemporary art, Intertextuality, Social practiceAbstract
This article proposes a review of the concept of “rhetoric” postulated by the Group µ based on the notion of practice by Louis Althusser and the semiotic theory of Charles S. Peirce. In this framework, the rhetoric –or the rhetorical apprehension of a discourse– is understood not only as a dialectical overlap of degrees, but also as a transformation process that involves a raw material, a product and a transformation criterion. The focus of the article is on understanding how the transformation of certain discourses occurs when they enter the rhetorical process. From the analysis of contemporary poetic discourses –visual, sculptural, exhibition, among others–, we seek to demonstrate that the transformation made by a rhetorical discourse involves three kinds of interventions on their raw materials: a theoretical one –the ontological definition–, an economic one –the one related to its availability in a market of goods–, and a policy –its positioning in relation to the areas of belonging and regulation of these raw materials. The recognition of these interventions and the identification of the dominant instance can help characterize the material strategy in the rhetorical analysis of a discourse.
Downloads
References
Agamben, Giorgio. Profanaciones. Buenos Aires, Adriana Hidalgo, 2005.
Althusser, Louis. La revolución teórica de Marx. Buenos Aires, Siglo XXI, 1971.
Acebal, Martín. “La Retórica inagotable. Práctica social y proceso semiótico”. Retor, vol. 6, n.° 1, jun. 2016, pp. 1-27.
Benjamin, Walter. “La obra de arte en la era de la reproductibilidad técnica”. Discursos Interrumpidos I, Buenos Aires, Taurus, 1989, pp. 15-57.
Bourdieu, Pierre. El sentido práctico. Buenos Aires, Siglo XXI, 1991.
Dawkins, Richard. El gen egoísta. Barcelona, Salvat, 1993.
de Mul, Jos. “The work of art in the age of digital recombination”. Digital Material. Tracing New Media in Everyday Life and Technology, editado por van den Boomen, M, S. Lammes, A-S. Lehmann, J. Raessens y M. T. Schäfer, Amsterdam, Amsterdam University Press, 2009, pp. 95-106.
Didi-Huberman, Georges. “Por los deseos (fragmentos sobre lo que nos subleva)”, Sublevaciones. Buenos Aires, Universidad Nacional de Tres de Febrero, 2017, pp. 83-182.
Eco, Umberto. La estructura ausente. Barcelona, Lumen, 1986.
Fabbri, Paolo. El giro semiótico. Barcelona, Gedisa, 1999.
Foucault, Michel. El orden del discurso. Buenos Aires, Tusquets, 1992.
Foucault, Michel. Saber y Verdad. Buenos Aires, La Piqueta, 1991.
Goldsmith, Kenneth. Escritura no-creativa. Gestionando el lenguaje en la era digital. Buenos Aires, Caja Negra, 2015.
Grupo µ. Retórica general. Barcelona, Paidós, 1987.
Grupo µ. Tratado del Signo Visual. Para una retórica de la imagen. Madrid, Cátedra, 1993.
Guerri, Claudio, et al. Nonágono Semiótico. Un modelo operativo para la investigación cualitativa, editado por Guerri, Claudio y Martín Acebal. Buenos Aires, EUDEBA-Ediciones UNL, 2016.
Jost, François. El culto de lo banal. De Duchamp a los reality shows. Buenos Aires, Libraria, 2012.
Knobel, Michel y Collin Lankshear, “Online memes, affinities, and cultural production”, A new literacies sampler, editado por Knobel, M. y Lankshear, C. New York, Peter Lang, 2007, pp. 199-227.
Link, Daniel. La poesía en la época de su reproductibilidad digital. Sáenz Peña, EDUNTREF, 2014.
Peirce, Charles. Collected Papers of Charles Sanders Peirce, vols. 1-6, editados por C. Hartshorne, P. Weiss, vols. 7-8, editados por A. W. Burks. Cambridge, Harvard University Press, 1931-1958.
Peirce, Charles. Obra lógico-semiótica, traducido por Armando Sercovich. Madrid, Taurus, 1987.
Plett, Heinrich. “Rhetoric and Intertextuality”. Rhetorica: A Journal of the History of Rhetoric, vol. 17, n.° 3, Summer 1999, pp 313-329. https://doi.org/10.1525/rh.1999.17.3.313.
Steyerl, Hito. Los condenados de la pantalla. Buenos Aires, Caja Negra, 2015.
Stjernfelt, Frederik. Grammatology. An investigation on the bordelines of Phenomenology, Ontology, and Semiotics. London, Springer, 2011.
Woodside Woods, Julián. “Escucha intermedial: auralidad desde una perspectiva retórica”, en Dossier: “Modos de escucha”, editado por Domínguez Ruiz, Ana Lidia M.. El oído pensante, vol. 7, n.° 2, 2019, pp. 194-217, http://ppct.caicyt.gov.ar/index.php/oidopensante [Consulta: 23/01/2020].
Žižek, Slavoj. “Let’s not demystify the vagina, please. In eroticism, there is only a small step from the sublime to the ridiculous”, The Spectator (USA), 15 de febrero de 2019, disponible en https://spectator.us/please-lets-not-demystify-vagina/ [Consulta: 23/01/2020].
Downloads
Published
How to Cite
Issue
Section
License
The authors must adhere to the Creative Commons license called "Attribution - Non-Commercial - Share Alike CC BY-NC-SA", through which it is allowed to copy, reproduce, distribute, publicly communicate the work and generate derivative works, provided and when the original author is cited and acknowledged. However, it is not allowed to use the work or its possible derivative works for commercial purposes. The authors may establish additional agreements for the non-exclusive distribution of the version of the work published in the journal (for example, place it in an institutional repository or publish it in a book), with the acknowledgment of having been first published in this journal.
The publication of contents in this journal does not imply any royalty or charge for the contributors.
.png)
2.png)
_(2).png)
.jpg)
_(1)1.jpg)
.jpg)
