Wordless Rhetoric¶
Bonds. (1800). Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Harvard University Press.
Cited by¶
1 citation across 1 artifact.
Domain-specific¶
- Chiasmus
- The reach into music (palindromic melody, arch form, fugal mirror) and certain visual composition is the genuine edge of the home territory: it transfers only insofar as those remain aesthetic-perceptual domains where an audience's uptake of the inversion is the point — drop the perceiving audience and the figure's force is gone, which is why whether musical mirror-form shares mechanism with rhetorical chiasmus is contested rather than settled
Supported in partVerified against a saved copy of the source
“verbal rhetoric.\nAfter 1800, writers {{{gradually abandoned}}} the metaphor of the oration, preferring”
- The reach into music (palindromic melody, arch form, fugal mirror) and certain visual composition is the genuine edge of the home territory: it transfers only insofar as those remain aesthetic-perceptual domains where an audience's uptake of the inversion is the point — drop the perceiving audience and the figure's force is gone, which is why whether musical mirror-form shares mechanism with rhetorical chiasmus is contested rather than settled
Verification¶
Does it exist? Not checked yet. This entry carries no identifier to resolve. It was extracted from the citation as written in the article, normalized, and deduplicated against the rest of the registry.
Does it back the claim? Read against the text for 1 of 1 citation: 1 supported in part. Each verdict is shown under its citation below, with what in the work backs the sentence.
Support is checked per citation rather than per work — the same source can be cited soundly in one article and wrongly in another. Per-citation recording began recently, so a citation with no recorded check is a gap in the record rather than evidence it went unchecked.
See how references were verified.
Registry ID ref:21a38657b3a3 · see in the full table