Hasil untuk "Style. Composition. Rhetoric"

Yingying Deng, Xiangyu He, Fan Tang et al.

Text-guided image generation has advanced rapidly with large-scale diffusion models, yet achieving precise stylization with visual exemplars remains difficult. Existing approaches often depend on task-specific retraining or expensive inversion procedures, which can compromise content integrity, reduce style fidelity, and lead to an unsatisfactory trade-off between semantic prompt adherence and style alignment. In this work, we introduce a training-free framework that reformulates style-guided synthesis as an in-context learning task. Guided by textual semantic prompts, our method concatenates a reference style image with a masked target image, leveraging a pretrained ReFlow-based inpainting model to seamlessly integrate semantic content with the desired style through multimodal attention fusion. We further analyze the imbalance and noise sensitivity inherent in multimodal attention fusion and propose a Dynamic Semantic-Style Integration (DSSI) mechanism that reweights attention between textual semantic and style visual tokens, effectively resolving guidance conflicts and enhancing output coherence. Experiments show that our approach achieves high-fidelity stylization with superior semantic-style balance and visual quality, offering a simple yet powerful alternative to complex, artifact-prone prior methods.

Yiren Song, Cheng Liu, Mike Zheng Shou

Diffusion models have advanced image stylization significantly, yet two core challenges persist: (1) maintaining consistent stylization in complex scenes, particularly identity, composition, and fine details, and (2) preventing style degradation in image-to-image pipelines with style LoRAs. GPT-4o's exceptional stylization consistency highlights the performance gap between open-source methods and proprietary models. To bridge this gap, we propose \textbf{OmniConsistency}, a universal consistency plugin leveraging large-scale Diffusion Transformers (DiTs). OmniConsistency contributes: (1) an in-context consistency learning framework trained on aligned image pairs for robust generalization; (2) a two-stage progressive learning strategy decoupling style learning from consistency preservation to mitigate style degradation; and (3) a fully plug-and-play design compatible with arbitrary style LoRAs under the Flux framework. Extensive experiments show that OmniConsistency significantly enhances visual coherence and aesthetic quality, achieving performance comparable to commercial state-of-the-art model GPT-4o.

Yuxi Zhang, Yueting Li, Xinyu Du et al.

Generating images from rhetorical languages remains a critical challenge for text-to-image models. Even state-of-the-art (SOTA) multimodal large language models (MLLM) fail to generate images based on the hidden meaning inherent in rhetorical language--despite such content being readily mappable to visual representations by humans. A key limitation is that current models emphasize object-level word embedding alignment, causing metaphorical expressions to steer image generation towards their literal visuals and overlook the intended semantic meaning. To address this, we propose Rhet2Pix, a framework that formulates rhetorical text-to-image generation as a multi-step policy optimization problem, incorporating a two-layer MDP diffusion module. In the outer layer, Rhet2Pix converts the input prompt into incrementally elaborated sub-sentences and executes corresponding image-generation actions, constructing semantically richer visuals. In the inner layer, Rhet2Pix mitigates reward sparsity during image generation by discounting the final reward and optimizing every adjacent action pair along the diffusion denoising trajectory. Extensive experiments demonstrate the effectiveness of Rhet2Pix in rhetorical text-to-image generation. Our model outperforms SOTA MLLMs such as GPT-4o, Grok-3 and leading academic baselines across both qualitative and quantitative evaluations. The code and dataset used in this work are publicly available.

Zhanjie Zhang, Quanwei Zhang, Junsheng Luan et al.

Given an arbitrary content and style image, arbitrary style transfer aims to render a new stylized image which preserves the content image's structure and possesses the style image's style. Existing arbitrary style transfer methods are based on either small models or pre-trained large-scale models. The small model-based methods fail to generate high-quality stylized images, bringing artifacts and disharmonious patterns. The pre-trained large-scale model-based methods can generate high-quality stylized images but struggle to preserve the content structure and cost long inference time. To this end, we propose a new framework, called SPAST, to generate high-quality stylized images with less inference time. Specifically, we design a novel Local-global Window Size Stylization Module (LGWSSM)tofuse style features into content features. Besides, we introduce a novel style prior loss, which can dig out the style priors from a pre-trained large-scale model into the SPAST and motivate the SPAST to generate high-quality stylized images with short inference time.We conduct abundant experiments to verify that our proposed method can generate high-quality stylized images and less inference time compared with the SOTA arbitrary style transfer methods.

Effi Levi, Gal Ron, Odelia Oshri et al.

We introduce a novel multi-labeled scheme for joint annotation of hate and counter-hate speech in social media conversations, categorizing hate and counter-hate messages into thematic and rhetorical dimensions. The thematic categories outline different discursive aspects of each type of speech, while the rhetorical dimension captures how hate and counter messages are communicated, drawing on Aristotle's Logos, Ethos and Pathos. We annotate a sample of 92 conversations, consisting of 720 tweets, and conduct statistical analyses, incorporating public metrics, to explore patterns of interaction between the thematic and rhetorical dimensions within and between hate and counter-hate speech. Our findings provide insights into the spread of hate messages on social media, the strategies used to counter them, and their potential impact on online behavior.

Michel Dufour

Comme la plupart des domaines scientifiques ou techniques, celui qui étudie l’argumentation utilise des modes de présentation et de représentation cartographique de ses objets. Ces procédés illustratifs présenteraient des avantages cognitifs ou méthodologiques. Deux perspectives principales en motivent aujourd’hui l'usage : pédagogique et heuristique – toutes deux censées être servies par la mise en œuvre de ces outils visant à décrire ou évaluer un argument, un échange argumenté voire un discours. Après une discussion des notions même de carte et de cartographie, l’article s’interroge sur leurs apports en argumentation, d’une part en mettant en question leur démarcation, notamment par rapport à des représentations écrites, d’autre part en les replaçant dans le sillage d’une tradition graphique courante en logique et en mathématique. A l’inverse d’une approche spontanément empiriste ne voyant que des données sur une cartographie, cette étude demande et discute à nouveau : Que compte-t-on cartographier ou voir cartographié et à quelles fins ? Quels ingrédients juge-t-on dignes de figurer dans la légende d’une cartographie ? Enfin, qu’en est-il des succès pédagogiques attendus ?

Joachim Knape

Cet article introduit et explicite le modèle de persuasion dit en « double-z », qui s’applique aux instances mentales de certitude et de doute, envisagées ici comme des constructions théoriques. Ces deux pôles entretiennent une relation dialectique dans les événements rhétoriques. La catégorie de zertum revêt une importance particulière dans le processus central de la persuasion, lequel est ici associé à la notion de dogme. Une analyse structurale et fonctionnelle dense d’une brève scène du Othello de Shakespeare précède une discussion théorique dans laquelle le modèle en double-z est formalisé et exposé en détail. La dernière section se concentre sur des questions de pragmatique. Elle traite du rôle des cadrages et des modalités selon lesquelles la structure en double-z est intégrée dans la communication ; elle évalue également les conséquences de son attribution à différents types de communication (rhétorique ou manipulation).

Aiqing Wang, T. W. Whyke

This study delves into the use of visual rhetorical strategies in 中国奇谭 Zhongguo Qitan ‘Yao-Chinese Folktales’ (2023), particularly focusing on 鹅鹅鹅 E E E ‘Goose Mountain’ (henceforth ‘Goose’) directed by Hu Rui. We assert that ‘Goose’ transcodes and reinterprets the ancient Chinese zhiguai novella 阳羡书生 Yangxian Shusheng ‘The Scholar from Yangxian’ (henceforth ‘Scholar’) for a contemporary audience through the use of visual rhetoric, leading to a compelling contemporary rendition of this tale. As a silent animation, ‘Goose’ does so by adeptly incorporating visual depictions, especially animal-related imagery and ink painting aesthetics, drawn from the broader traditional zhiguai myths, or tales of the strange and traditional Chinese culture. The core argument hinges on visual rhetoric’s transformative potential. In ‘Goose’, the connection between tradition and contemporaneity is established through metaphor and metonymy. Initially a literary figure of speech, metaphor and metonymy now encompasses ‘visual rhetoric’, widely applied in interpreting visual arts. Visual rhetoric often employs various elements such as colour, shape, size, objects, composition and texture to convey information. This study highlights the role played by the inseparable link between traditional zhiguai narratives, the minzu/national style, and the contemporary animation technology in ‘Goose’, a transformative role that revitalizes ancient traditions to resonate with today’s viewership.

Yunming Zhang, Dengpan Ye, Sipeng Shen et al.

Arbitrary Style Transfer (AST) achieves the rendering of real natural images into the painting styles of arbitrary art style images, promoting art communication. However, misuse of unauthorized art style images for AST may infringe on artists' copyrights. One countermeasure is robust watermarking, which tracks image propagation by embedding copyright watermarks into carriers. Unfortunately, AST-generated images lose the structural and semantic information of the original style image, hindering end-to-end robust tracking by watermarks. To fill this gap, we propose StyleMark, the first robust watermarking method for black-box AST, which can be seamlessly applied to art style images achieving precise attribution of artistic styles after AST. Specifically, we propose a new style watermark network that adjusts the mean activations of style features through multi-scale watermark embedding, thereby planting watermark traces into the shared style feature space of style images. Furthermore, we design a distribution squeeze loss, which constrain content statistical feature distortion, forcing the reconstruction network to focus on integrating style features with watermarks, thus optimizing the intrinsic watermark distribution. Finally, based on solid end-to-end training, StyleMark mitigates the optimization conflict between robustness and watermark invisibility through decoder fine-tuning under random noise. Experimental results demonstrate that StyleMark exhibits significant robustness against black-box AST and common pixel-level distortions, while also securely defending against malicious adaptive attacks.

Julien Porquet, Sitong Wang, Lydia B. Chilton

Generative text-to-image models are disrupting the lives of creative professionals. Specifically, illustrators are threatened by models that claim to extract and reproduce their style. Yet, research on style transfer has rarely focused on their perspectives. We provided four illustrators with a model fine-tuned to their style and conducted semi-structured interviews about the model's successes, limitations, and potential uses. Evaluating their output, artists reported that style transfer successfully copies aesthetic fragments but is limited by content-style disentanglement and lacks the crucial emergent quality of their style. They also deemed the others' copies more successful. Understanding the results of style transfer as "boundary objects," we analyze how they can simultaneously be considered unsuccessful by artists and poised to replace their work by others. We connect our findings to critical HCI frameworks, demonstrating that style transfer, rather than merely a Creativity Support Tool, should also be understood as a supply chain optimization one.

Ahad Jawaid, Shreeram Suresh Chandra, Junchen Lu et al.

Recent advances in style transfer text-to-speech (TTS) have improved the expressiveness of synthesized speech. However, encoding stylistic information (e.g., timbre, emotion, and prosody) from diverse and unseen reference speech remains a challenge. This paper introduces StyleMoE, an approach that addresses the issue of learning averaged style representations in the style encoder by creating style experts that learn from subsets of data. The proposed method replaces the style encoder in a TTS framework with a Mixture of Experts (MoE) layer. The style experts specialize by learning from subsets of reference speech routed to them by the gating network, enabling them to handle different aspects of the style space. As a result, StyleMoE improves the style coverage of the style encoder for style transfer TTS. Our experiments, both objective and subjective, demonstrate improved style transfer for diverse and unseen reference speech. The proposed method enhances the performance of existing state-of-the-art style transfer TTS models and represents the first study of style MoE in TTS.

Luis Ballesteros Pastor

Appian’s Mithridatheios contains a considerable number of formal speeches, to which others found by the author in his sources could have been added, but he chose not to develop them. Most of these passages relate to the First Mithridatic War, in line with the prominence that Appian attributes to Sulla in the crisis of the Roman Republic. While the Roman general delivers the longest speeches in this work, Mithridates has only three, which also appear notably abbreviated. Very possibly, Pompeius Trogus’ historical work was the source for the main rhetorical passages.

Vicente M. Ramón Palerm, Silvia Vergara Recreo

Antifonte de Ramnunte es un orador de talla excepcional cuya contribución al estudio de la (ir)religiosidad en Atenas, una faceta de importancia primordial en el siglo V a.C., resulta fundamental. Mediante el presente artículo, que afecta a la Tetralogía Segunda (pieza maestra donde Antifonte despliega admirablemente su pericia retórico-judicial), comentamos y estudiamos ciertas innovaciones léxico-semánticas de nuestro rétor que inciden en la originalidad de Antifonte sobre el manejo de aspectos relevantes para la comprensión del fenómeno (ir)religioso en el siglo V a.C.

L. V. Hoof, P. V. Nuffelen, J. V. Ginkel

Peter Van Nuffelen From rhetoric to epic in late antique Greek historiography. Late antique history often situated itself in between rhetoric and poetry. This paper argues that this positioning changed in the course of time: in Greek historiography of Late Antiquity, we witness a shift away from panegyric as the main point of reference and competition towards epic. If Greek classicising history of the 4th and 5th c. is poorly preserved, the ecclesiastical historians of this period are mostly concerned with positioning themselves vis-à-vis rhetoric. The shift can be sensed in Procopius, whose preface positions itself vis-à-vis rhetoric and poetry but polemicises most strongly against Homeric language. It is completed in Theophylact Simmocata, in whose early 7th c. history the main literary point of reference is Homer. Besides mapping these changes, this paper asks the following questions. A) How can this shift be explained? Is it the result of wider changes in literary taste? Indeed, the shift is parallelled in the upsurge of epics on contemporary events from the middle of the 6th c. onwards. Such epics are attested in the 4th and 5th century too, yet they seem to be playing a less prominent role in the self-presentation of the court. Does it reflect self-representation of leading military men or of an ideology of military success in 6th and 7th c. Byzantine society? B) Does this change of reference have an impact on the way history was being written? One can indeed argue that Procopius, Agathias, and Theophylact have many more scenes of heroic battle in their histories, which tend to have a strong military focus. Does it also have an impact on the focalisation and characterisation of the main protagonists? Edward J. Watts Julian and Prohaeresius. In the year 361, the Christian rhetorician Prohaeresius wrote to the Emperor Julian and asked him for materials that he could use as sources in a panegyric. Julian loathed Prohaeresius and had no interest in allowing the rhetorician to give the emperor a speech that everyone knew was full of disingenuous praise. Julian responded to the request with the letter dripping with powerful sarcasm. He offered to provide any materials the rhetorician wanted, but only if Prohaeresius agreed to write a history instead of an oration. Julian understood that the rhetorician could easily disavow praise given in an oration, but he was bound to any points of view he expressed in history. This exchange then highlights a fundamental difference between history and rhetoric that producers and consumers of literature both clearly recognized. Although both types of literature used the same basic raw materials, historians appear to have been bound to the portraits of the individuals they presented. At the same time, it was understood that rhetoricians could radically shift their perspectives on a subject or an event as time and circumstances changed. Using materials like the exchange between Julian and Prohaeresius, the orations of Themistius and the letters of Libanius, this essay will show that authors were expected to believe and maintain the points of view they argued in histories but had considerable flexibility to later disavow things said in panegyrics. Alan J. Ross Peeking beneath Libanius’ Robes of Rhetoric: Panegyric and Historiography in Oration 18. In late 363, during the aftermath of the emperor Julian’s death in Persia, Libanius wrote to Julian’s former notarius, Philagrius, asking him for details of the distarous campaign of which Philagrius had also been part (Ep. 1434). Libanius’ letter collection is an astonishing resource for contextualising his other works; we have nothing comparable for any historian, but we generally assume that Libanius’ practice of soliciting information from eyewitnesses was the standard practice of historians too (it is what Thucydides maintains he himself did, 1.22). The work that Libanius was composing was not a work of history, however, but of rhetoric: Oration 18, the Epitaphios for Julian. Oration 18 is clearly panegyrical in tone, though the particular sub-genre of Epitaphios necessarily involves a performative context which was atypical for standard imperial panegyric: the praise of a deceased honorand. If historians maintained that the reign of past emperors was the domain of their genre, and that of the current emperor was the domain of panegyric, then Epitaphios demonstrably crosses this boundary, and could then be inherently more ‘historiographical’. Furthermore, in the case of Oration 18 we can clearly see that Libanius wanted to compose a narrative which was well-informed in terms of detail, though he promises Philagrius that ‘you will inform me of the bare facts; I will dress them in the robes of rhetoric’. In this paper I will investigate how Libanius combines, negotiates, or rejects tropes of historiography and panegyric in this speech. Particularly I will consider the positioning of Libanius’ oratorial persona in relation to his audience, and the form and function of his narrative (which comprises a large portion of the work) vis-à-vis narrative in more typical examples of panegyric and historiography in the fourth century. If time and space allow, I will also draw comparisons with Gregory Nazianzen’s Oration 5 (‘Against Julian’) which shares a similar compositional context (the aftermath of Julian’s death) but is a work of invective (the generic inverse of panegyric). My conclusions will shed light directly on question of mutual attraction and rejection of these two proximate genres of late-antique literature. Laura Carrara Rhetorical structures in the Chronicle of John Malalas. The style of the bulky sixth-century chronicle of John Malalas (an account of the world history from Adam and Eve to Justinian) has been defined by authoritative scholars as “plodding” (Scott 1981, 23); its language as rich in repetitions and almost “formulaic” (M. Jeffreys 1990). These features seem to support the widespread theory that Malalas was employed in the offices of the imperial bureaucracy in Antioch and that he chose for his literary work the same written language he used for his daily office routine. Generally speaking, this appreciation of the linguistic texture of the chronicle and the resulting reconstruction of the professional and social position of its author might well be true. Against this background, however, another aspect deserves attentive consideration, namely the nickname ‘Malalas’ given to the author of the chronicle by some contemporary and later writers. As it is widely acknowledged, the sobriquet ‘Malalas’ (Μαλάλας, sometimes also Μαλέλας) is the Greek expansion of a Syriac root (mll) meaning ‘eloquent’, ‘endowed with fluency of speech’; a concrete investigation into how the rhetorical ability of John influences his chronicle and gives shape to the narration still largely remains to be carried out. In my contribution for the volume, I plan to look for passages in Malalas’ chronicle that show traces of rhetorical elaboration and structuration, attempting to trace them back to John’s education in an ancient Greek-speaking rhetorical school (on which see most recently Berardi 2017) and/or to his acquaintance with rhetorical handbooks and works. At the workshop, I will present and discuss a case of rhetorical elaboration in Malalas’ chronicle I have already studied en detail in a recent publication (Carrara 2017), the long and articulated earthquake description in Chronographia XVII 16 (earthquake of Antioch in 526 AD). I argue that Malalas, in order to compose this stylistic striking passage, exploited a rhetorical monody and that this monody was, conceivably, the one written down soon after the quake by the famous rhetorician Procopius of Gaza. If my reconstruction is accepted, this source relationship illustrates well the phenomenon of adoption and adaptation of rhetorical practices in historical works and contributes to give a more vivid and interdependent picture of the activity of rhetoricians and historians in Late Antiquity. Maria Conterno Barhadbeshabba Arbaya’s “The Cause of the Foundation of the Schools”: History and Rhetoric in Disguise. Barhadbeshabba Arbaya’s The cause of the foundation of the schools or, more literally, The cause of the establishment of the sessions of the schools, is a peculiar text which fits the subject of the workshop in many respects. It is an inaugural lecture written between the 6th and the 7th centuries to welcome a new incoming class at the School of Nisibis, the famous theological school founded by refugees from the ‘School of the Persians’ of Edessa after the closure of the latter in 489. It is therefore a rhetorical text proper, written to be read out in front of an audience. This is already an exception in the Syriac world, where the rhetorician as a public and professional figure did not exist. As the title makes clear, the author borrowed for his speech the format of the ‘cause’ genre (‘elltā), a literary genre unique to Syriac literature consisting of aetiological treatises on the origins of religious festivities or liturgical practices. But the aetiological discussion of the school year is preceded by an overview of universal history, where the history of the world is metaphorically presented as ‘scholastic history’, namely as a succession of schools, from the school established by God for the angels up to the School of Nisibis itself. Last but not least, Barhadbeshabba Arbaya was possibly a historian too, a history of the Church of the East being preserved under his name. Although rhetoric, rhetoricians, and rhetorical skills are not addressed directly and explicitly in the text, a certain number of passages and remarks of the author prompt reflections on the following points: a) The role of rhetoric in the teaching activity of the School of Nisibis; b) the attitude towards rhetorical skills and ‘speech embellishment’ in the author’s circles; c) the author’s view on the relationsh

Natalia O. Vlasova

Perhaps the main particular feature of Richard Strauss as a composer is his incomparable gift for musical characterization. He was able to convey literally everything in sounds: both material and concrete things, as well as all sorts of abstract ideas and concepts. An increased attention to the details of the musical text, stage-related situations, and the behavior of various protagonist determines the special mobility and lability of musical presentation in the composer’s opera scores. In his work as a whole, this characteristic feature explains the strong stylistic contrasts between particular musical-theatrical works, depending on the plotline and the chosen mode of its implementation. Taking into account the challenges that arose in each work, Strauss each time created a specific thesaurus of musical means — the particular characteristic figures. The composer himself spoke in this regard about “sound symbols” (Tonsymbole), to which he pertained the design of the melodic line, the characteristic motive, the special rhythmic motion within the confines of a unique timbre, and other elements of musical presentation. At the same time, he could freely turn to already existing musical-historical material containing certain semantic connotations (musical quotations, particular musical styles, topoi, genres, compositional techniques, etc.). Among the characteristic means that Strauss resorted to, the following must be highlighted 1) word-painting (Tonmalerei), 2) leitmotifs, 3) the respective tonality, 4) musical quotations (borrowed from other composers’ works and from his own), 5) genre, 6) the compositional method, 7) style. The article draws an analogy between Strauss’s methods of musical characterization and the use of musical and rhetorical figures in the Baroque era. However, if the rhetorical figures refer to the area of typified content, it follows that Strauss creates an arsenal of special characteristic means for each specific work. The musical “emblems”, which previously possessed a universally significant character, acquire purely authorial traits and require individual decoding.

Abdul Manan Nasution

Ustadz Yusuf Mansur adalah seorang pendakwah yang sempat viral di media sosial karena video ceramahnya yang selalu menekankan keajaiban sedekah. Melalui retorika dakwah, ia berhasil mendorong jamaahnya untuk berinvestasi uang atas nama sedekah. Penelitian ini mengkaji retorika dakwah Ustadz Yusuf Mansur dalam menginspirasi semangat sedekah melalui YouTube Daqu Channel. Metode yang digunakan adalah deskriptif analisis berdasarkan teori retorika dakwah. Hasil penelitian menunjukkan bahwa dari tiga video ceramah tentang sedekah yang dianalisis, gaya bahasa yang paling sering digunakan oleh Ustadz Yusuf Mansur adalah gaya bahasa percakapan. Gaya bahasa khas yang digunakan dalam ceramah tentang sedekah termasuk gaya bahasa penegasan, dengan varian dominan seperti klimaks, anti klimaks, paralelisme, dan antitesis. Selain itu, ada empat jenis langgam yang digunakan dalam video ceramahnya, yaitu langgam agama dan langgam percakapan. Dalam penyusunan pesan, ditemukan tiga jenis komposisi pidato yang digunakan oleh Ustadz Yusuf Mansur dalam video ceramahnya, yaitu kesatuan, pertautan, dan titik berat. Bentuk imbauan motivasional dan imbauan ganjaran (reward) adalah yang paling sering digunakan oleh Ustadz Yusuf Mansur.   Ustadz Yusuf Mansur is a preacher who went viral on social media because of his video lectures that always emphasize the miracle of alms. Through preaching rhetoric, he succeeded in encouraging his congregation to invest money in the name of alms. This study examines Ustadz Yusuf Mansur's da'wah rhetoric in inspiring the spirit of almsgiving through the YouTube Daqu Channel. The method used is a descriptive analysis based on the theory of da'wah rhetoric. The results showed that of the three video lectures on almsgiving analyzed, the language style most often used by Ustadz Yusuf Mansur is conversational. Typical language styles used in lectures on almsgiving include affirmation language styles, with dominant variants such as climax, anti-climax, parallelism, and antithesis. In addition, there are four types of styles used in his video lectures, namely religious styles and conversational styles. In the arrangement of messages, Ustadz Yusuf Mansur uses three types of speech composition in his video lectures: unity, linkage, and emphasis. Ustadz Yusuf Mansur most often uses forms of motivational appeals and appeals for rewards.

Azad Mammadov, Maryam K. Isgandarli

Abstract: The article analysis Donald Trump’s communication style and political discourse through methodology including methods from linguistics and rhetoric. The research focus is in lexical and syntactic repetitions, elliptical constructions and word order changes used by Donald Trump in his political speeches sending strong signals to his real and potential voters. The assumption is Donald Trump’s communication style has the features of grandiosity, informality and dynamism. These three concepts have strong association with populist rhetoric, which plays a very important role in his political discourse, the first two concepts imply two conflicting trends: a desire to be above all and at the same time a desire to be closer to the audience. The article studies the way how, why, when and where Donald Trump uses the repetitions of words, phrases and sentences, ellipsis and word order changes as the linguistic verbalizations of grandiosity, informality and dynamism in his political discourse. Keywords: Donald Trump, political discourse, rhetoric, lexical and syntactic repetitions, ellipsis, word order change.

A. McGee

This article argues for repositioning voice within BIPOC histories and contributions to the fields of English/rhetoric/composition studies. By reinvestigating the affordances and constraints of Expressivist-driven definitions of “voice” and the contemporary applications of imitation writing assignments, this article demonstrates alternative approaches to teaching and thinking through voice in writingbased courses.

P. James

ABSTRACT This essay examines the queer rhetorical capacities of what the pornographer, poet, professor, and tattoo artist Samuel Steward called latriniana—sexual graffiti located in public lavatories. While this genre’s rhetorical objective is often associated with sexual solicitation, this essay argues that latriniana proffers a destabilized logos—always in motion, roving along a continuum of cohesion and disintegration, while never truly landing on any definitive form. As a result, the genre exemplifies what Jonathan Alexander and Jacqueline Rhodes have cited as queer composition’s impossibility. Using samples of latriniana collected from gay bars in San Francisco and New York City, the essay traces the rhetorical gestures inherent to the genre, exploring the way latriniana enables a multiplicity of readings, and thus embodies the chimerical, uncontainable queer logos.

Thomas Franck

This paper develops a rhetorical and enunciative analysis of Madeleine Bourdouxhe’s novels Vacances (1935-1936), La femme de Gilles (1937), A la recherche de Marie (1943) and Mantoue est trop loin (1956) by examining the enunciative treatment of thought narrations and reported speeches, the derision of a second speaker’s points of view by the first speaker, the subjective marks as well as the different types of ethos (those of the female narrators and characters) constructed in the narrative discourse. This literary work cannot be reduced to feminine sentimentalism or to a populist and picturesque aesthetic, a commonplace reproduced by traditional criticism. From a socio-discursive perspective, the hypothesis of enunciative emancipation is based on the contexts in which Bourdouxhe produces her discourses, influenced by different sociabilities, such as the personalist group (structured by the journal Esprit in the ’30s) and the existentialist movement (structured by the journal Les Temps Modernes in the second half of the ’40s and by the two figures of Sartre and Beauvoir). The analysis of Bourdouxhe’s novelistic discourse allows us to test the hypothesis of a micro-rhetoric of feminine individual lives inherent in Bourdouxhe’s work, in the inheritance of the micro-history that explores subaltern experiences and conditions.