Volume 12, Issue 3
  • ISSN 0302-5160
  • E-ISSN: 1569-9781
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SUMMARYThe aim of the present article is to clarify certain aspects pertaining to the interpretation of the grammatical theory of Francisco Sanchez de las Brozas. In particular, an attempt is made to explain the occurrence in his syntactic theory of certain elements of classical rhetoric: those referring to what is known as figured syntax. In the Minerva, the presence of constructional figures (ellipsis, zeugma, pleonasm, syllepsis and hyperbaton) signifies a drastic and rational reduction in respect to what was commonly to be found in the grammatical tradition de las Brozas inherited. The reduction is justified given his predominantly syntactic conception of grammar, one which leads him to consider only grammatical alterations of a propositional nature, viewed as deviations which must be explained by grammar. On the other hand, the very inclusion of such rhetorical figures in the sphere of grammar is justified for de las Brozas because, it is claimed, they are normal speech phenomena, not just confined to the art of rhetoric.RÉSUMÉLe present article a comme but de reexaminer quelques aspects de la theorie grammaticale de Francisco Sanchez de las Brozas, notamment ceux qui tem-moignent de 1'influence de la rhetorique classique et que Ton a coutume d'ap-peler syntaxe figuree. Le nombre des figures rhetoriques (ellipse, zeugma, pleonasme, syllepse et hyperbate) dans la Minerva est sensiblement inferieur a ce qu'on connait de la tradition grammaticale anterieure au Brocense. Cette reduction est justifiee par une conception eminemment syntactique de la grammaire, ce qui amene le Brocense a etudier les alterations grammaticales appartenant au discours comme des ecarts qui doivent etre expliques par la grammaire. D'ailleurs, il justifie sa facon de proceder affirmant que les figures de rhetorique sont des phenomenes normaux de la parole et que, par consequent, elles n'en-trent pas exclusivement dans le champ de la rhetorique.


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  • Article Type: Research Article
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