This lecture discusses key ideas from the ancient philosopher Plato's dialogue, the Gorgias.

This lecture focuses specifically on a set of points that Socrates makes in his conversation with Gorgias, outlining a common dynamic that tends to produce anger and even lead to abusive language between people who are discussing or exploring a subject matter together. When subject matters or topics are difficult to define, people will accuse each other of being unclear or incorrect in what they say. It is easy for interlocutors to assume that the other person is arguing their position in bad faith, out of a desire to win, to be right, to dominate, rather than a desire to seek out and articulate the truth together.

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Plato, Gorgias - Why People Get Angry In Discussions - Sadler's Lectures

This lecture discusses key ideas from the ancient philosopher Plato's dialogue, the Gorgias.

This lecture focuses specifically on a passage in the conversation between Socrates and the host of the evening's conversations, Callicles. After Callicles has told Socrates that philosophy is fine for children and young men, but that a mature man ought to leave it behind, Socrates ironically tells Callicles that he is certain to get a good assessment of his character from Callicles. Socrates claims that for a person who wants to be a good tester and judge of whether others are living their lives well, and whether their souls are well-nurtured, three characteristics are needed.

These three are knowledge (epistēmē) good will (eunoia), and frankness or freedom of speech (parrhēsia). Socrates claims that Callicles has demonstrated that he possesses all three of these traits, and has displayed them towards Socrates.

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Plato, Gorgias - Knowledge, Good Will, And Frankness - Sadler's Lectures

28  minutes ago

READ HERE : https://saroendenggosong.blogspot.com/?real=B0BH6QGPRH 

read pdf  The Philosophy, Theology, and Rhetoric of Marius Victorinus (Writings from the Greco-Roman World Supplement Series Book 20) 
Pagan rhetor, (Neo-)Platonist philosopher, Christian theologianThis collection of essays is devoted to the rhetoric, Neoplatonic philosophy, and Christian theology of Marius Victorinus, a mid-fourth-century professor of rhetoric and p

read❤ The Philosophy, Theology, and Rhetoric of Marius Victorinus (Writings from the

free read  Critical Race Narratives: A Study of Race, Rhetoric and Injury (Critical America Book 42)

READ NOW : https://slide.softebook.net/B00499DQYK

The beating of Rodney King, the killing of Amadou Diallo, and the LAPD Rampart Scandal: these events have been interpreted by the courts, the media and the public in dramatically conflicting ways. Critical Race Narratives examines what is at stake in these conflicts and, in so doing, rethinks racial strife in the United States as a highly-charged struggle over different methods of reading and writing. Focusing in particular on the practice and theorization of narrative strategies, Guti&#233rrez-Jones engages many of the most influential texts in the recent race debatesincluding The Bell Curve, America in Black and White, The Alchemy of Race and Rights, and The Mismeasure of Man. In the process, Critical Race Narratives pursues key questions posed by the texts as they work within, or against, disciplinary expectations: can critical engagements with narrative enable a more democratic dialogue regarding race? what promise does such experimentation hold for working through the traumatic

kindle👌 Critical Race Narratives: A Study of Race, Rhetoric and Injury (Critical

This lecture discusses key ideas from the modern empiricist philosopher David Hume' Enquiry Concerning Human Understanding

It focuses specifically on his discussion in section 1 of the work, specifically the distinction Hume makes from the very first paragraph between two different modes of engaging in moral philosophy. One of these is what he calls "easy" and "obvious" philosophy, intended for the broad public, lacking rigor but suited for guiding the live of activity, business, and sociability.  The other is what he calls "abstruse", "abstract", or "accurate" (and sometimes "metaphysics"), does have much more rigor, but will always be less popular and pertains to us as reasonable beings.

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David Hume, Inquiry Concerning Human Understanding - Easy Vs Abstruse Philosophy - Sadler's Lectures

Episode 1: An interview with Leah Ceccarelli, director of Science, Technology, and Society Studies about the program, scientists as citizens, and how rhetoric helps us make sense of debates about hot-button topics. Plus, Leah's take on whether scientists should be arrested when they're bad communicators.

Transcript and audio remix production by Monika Sengul-Jones
Recording by Russell Hugo

Transcript
https://depts.washington.edu/societytech/wordpress/?p=1101

Conversations with Society + Technology - Episode 1 - STSS and Rhetoric of Science - Fall 2024

In this episode of "The Trial Lawyer's Handbook," litigation attorney Dan Small explores the importance of rhetoric in courtroom communication. Although rhetoric has been less studied in recent times, it has enabled speakers to enhance the power and persuasiveness of their words since the ancient Greeks. Mr. Small discusses why key devices such as lists, anaphora and rhetorical questions remain vital methods for trial lawyers to effectively present evidence clearly and persuasively.

Connecting Separate Pieces of Evidence Clearly, Persuasively

This is a podcast segment for Queer Rhetoric :D

Queer Rhetoric Podcast Segment

This lecture discusses key ideas from the early medieval philosopher and theologian, Augustine of Hippo's work, The Confessions.

It focuses specifically on his discussion of his friend Alypius in book 8, who was from Augustine's home town of Thagaste, attended Augustine's lectures, where he heard Augustine touch upon a moral failing of his, namely his strong interest in the circus spectacles. Alypius would along with Augustine make progress towards an eventual conversion to Christianity, and is there in the garden when Augustine has his famous experience when struggling with committing himself. 

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Augustine of Hippo, Confessions - Augustine's Friend Alypius - Sadler's Lectures

This "Chaconne Paysanne" from "Dance Suite no.2", draws inspiration from the traditional chaconne form while incorporating elements evocative of rural life. Built around a recurring rhythmic motif, the piece explores a range of harmonic and melodic variations that alternately reflect the discipline of agricultural work and the vitality of popular folk dances.

The composition stands out for its balance between the classical structure inherited from the Baroque era and a more direct, intentionally uncluttered writing style that highlights the simplicity and authenticity of the sonorities. This approach creates an atmosphere that is both solid and lively, remaining faithful to the spirit of the rural traditions that inspired the work.
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Cette "Chaconne Paysanne" issu de la "Suite de Danse no.2" pour piano, composée par Pierre Fontaine, s’inspire de la forme traditionnelle de la chaconne tout en y intégrant des éléments évocateurs du monde rural. Basée sur un motif rythmique répété, la pièce explore différentes variations harmoniques et mélodiques qui traduisent tour à tour la rigueur du travail de la terre et la vitalité des danses populaires.

La composition se distingue par son équilibre entre la structure classique héritée du baroque et une écriture plus moderne, volontairement dépouillée, qui met en valeur la simplicité et l’authenticité des sonorités. Cette approche permet de créer une atmosphère à la fois solide et vivante, fidèle à l’esprit des traditions paysannes qui ont inspiré l’œuvre.

Composer & Pianist: Pierre Fontaine
Dedicated to composer and pianist Stéphane Delplace.

Score available for purchase on pierrefontaine.composer@gmail.com

Copyright Pierre Fontaine © All rights reserved

Chaconne Paysanne | Petite Orchestre Symphonique

The "Tournidjaire Lemosina" (in Occitan) is a traditional dance from Limousin, inherited from a rich folk heritage where music served primarily to bring people together and celebrate. Its name comes from the idea of ​​turning, of twirling, and it is characterized by a lively and catchy rhythm, often marked by repetitive melodic phrases that encourage collective dancing. A part of intangible heritage, it is gradually disappearing from the Limousin choreographic and cultural landscape.

Transposed to the symphony orchestra, the Tournidjaire takes on a new dimension. The orchestra's varied colors and timbres support the festive and vigorous character of this rural dance: the strings provide the fluidity of the circular movement, the woodwinds translate the light and playful motifs, while the brass and percussion instruments emphasize the popular energy and rhythmic liveliness.

This rewriting does not betray the original spirit: it preserves the popular momentum, the regular pulse and the communicative joy of Limousin dance, while opening it up to the breadth and richness of sound of a large symphonic formation. La Tournidjaire thus becomes a bridge between tradition and modernity, between the memory of the land and universal musical language.
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La Tournidjaire Lemosina (en occitan) est une danse traditionnelle du Limousin, héritée d’un riche patrimoine populaire où la musique servait avant tout à rassembler et à célébrer. Son nom vient de l’idée de tourner, de virevolter, et elle se caractérise par un rythme vif et entraînant, souvent marqué par des phrases mélodiques répétitives qui incitent à la danse collective. Issue du patrimoine immatérielle, elle disparait peu à peu du paysage chorégraphique et culturel limousin.

Transposée à l’orchestre symphonique, la Tournidjaire prend une nouvelle dimension. Les couleurs et les timbres variés de l’orchestre supportent le caractère festif et vigoureux de cette danse rurale : les cordes apportent la fluidité du mouvement circulaire, les bois traduisent les motifs légers et espiègles, tandis que les cuivres et les percussions soulignent l’énergie populaire et la vivacité rythmique.

Cette réécriture ne trahit pas l’esprit originel : elle conserve l’élan populaire, la pulsation régulière et la joie communicative de la danse limousine, tout en l’ouvrant à l’ampleur et à la richesse sonore d’une grande formation symphonique. La Tournidjaire devient ainsi une passerelle entre tradition et modernité, entre mémoire des terroirs et langage musical universel.

Composer & Pianist: Pierre Fontaine
Dedicated to composer and pianist Lucas Debargue.


Score available for purchase on pierrefontaine.composer@gmail.com
Piano solo, Piano four-hands and Symphonic orchestra)

Copyright Pierre Fontaine © All rights reserved


Tournidjaire Lemosina | Petite Orchestre Symphonique

We make sense of big questions about emerging technologies and their social impact and effects through conversations. Society + Technology at the University of Washington is a cross-campus, cross-disciplinary program focused on uplifting the research, teaching, and learning at the University of Washington's three campuses and the School of Medicine.

Pierre Fontaine, born in Nanterre, France, is a composer whose taste for early-20th harmony, jazz influences, XVIIth century dances and film music have led him to compose for various ensembles and soloist such as the Telegraph Quartet, Symphonic & Chambers orchestras, the  International Orange Chorale of San Francisco and more. As a pianist who accompanies movies with live-improvised music in theaters across France, Pierre has also signed the original soundtrack for over ten short-films.

Pierre has won prizes in several competitions such as, Highsmith Orchestral Composition competition 2025, Artisee 2024 Composition competition "Over the Classic", ERSO 2024 Composition competition, the SSO Call for Score 2022 at USC in Los Angeles, the 6th Pankonin American Art Song competition 2022, 2nd prize at the SFCM Choral Competition 2022, 2nd Prize at the SFCM Art Song Competition 2021.

Pierre is currently based in Paris, France and graduated from San Francisco Conservatory of Music with a Master’s Degree in Composition where he studies with Dr. David Conte. In addition, Pierre holds a Advanced Certificate  in Composition from San Francisco Conservatory of Music, as well as a DE (Bachelor's degree) in Teaching Pedagogy from CeFeDem Auvergne Rhone Alpes.

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New tracks tagged #Rhetoric