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His award-winning and much-translated novels and story collections are renowned for their engaging grace, vividness, and direct, usually autobiographical engagement with the history of Greece, turning Zei's fiction into a true docere et delectare feat.
Foucault's Pendulum and The Prague Cemetery are perfect illustrations of Eco's remarkable art of docere et delectare applied in engaging narratives full of ideas that force the reader to ask what does the novel really mean?
Jane Gosine's "Repentance, Piety and Praise: Sensual Imagery and Musical Depiction in the petits motets of Marc-Antoine Charpentier" takes off from a previous article, written with Erik Oland ("Docere, delectare, movere: Marc-Antoine Charpentier and Jesuit Spirituality," Early Music 32, no, 4 [November 2004]: 511-39), which places Charpentier's music in the context of the Jesuit cultivation of sensual experience in art "as a means for arousing religious feeling.
For Quintus Horatius Flaccus (De arte poetica, verses 333 [pounds sterling]) literature has the two main goals of instruction and delight: "aut prodesse volunt auf delectare poetae ant simul et mcunda et idonea dicere vitae" (Poetry shall instruct and please, create communication pleasures and combine what is agreeable and useful for our life).
Its bone of contention has an old and dignified pre-Darwinian tradition: "Aut prodesse volunt aut delectare poetae"--poets wish to either be useful or to delight--as Horace writes in his Ars Poetica.
19) Affirming "the psychological and moral importance of the human affections" (Hoffmann 1994, 201), Erasmus argues that speech is rational and ethical to the extent that it "confirms and intensifies the positive dispositions of the heart as much as it negates and changes its negative inclinations," and thus becomes effective by moving and changing us through seizing and delighting us: movere, flectere, rapere, and delectare imply one another in ways that enact word (logos) becoming flesh, Christ being resurrected in the heart (Hoffmann 1994, 225-26; Bennett 2000, 30-51).
Anselm, steeped in the writings of Augustine, heeded the latter's trivium of docere, delectare, and flectare.
16) Horace actually lists three possible aims for the poet: to be useful, to entertain, or to do both--"aut prodesse volunt aut delectare poetae, / aut simul et iucunda et idonea dicere vitae" (lines 333-34).
Poccetti enriched his frescoes with a wealth of detail, whether in natural landscape elements or genre, creating scenes whose visual splendour and human interest captivated viewers of the day--and achieved precisely that combination of delectare, docere, movere ('to delight, to teach, to move') which Catholic churchmen were calling for in religious painting at the time.
Rhetorical studies of Reformation preaching owes a huge debt to Birgit Stolt, Studien zu Luthers Freiheitstraktat mit besonderer Rucksicht auf das Verhaltnis der lateinischen und der deutschen Fassung zu einander und die Stilmittel der Rhetorik (Stockholm: Almqvist and Wiksell, 1969); "Docere, delectare, und movere bei Luther: Analysiert anhand der `Predigt, dass man Kinder zur Schulen halten solle,'" Deutsche Vierteljahrsschrift fur Literaturwissenschaft und Geistesgeschichte 44 (1970): 433-74, now included in her Wortkampf: Fruhneuhochdeutsche Beispiele zur rhetorischen Praxis (Frankfurt: Athenaeum, 1974), 31-77.
Horace's fundamental instruction, delectare and prodesse, the writers' guiding motto, mirrored the instinctive tendency of the writer to "agrementer son texte" (Ibid.
Gainesville: Scholars' Facsimiles, 1954], 13); Vives argues that delectare (delight) is the wrong term for the second office of rhetoric; he offers instead detenere (detain, occupy), since things which are delightful seize or move their hearers (capiuntur) (De ratione dicendi, vol.