Augustine's Confessions: Communicative Purpose and Audience by Annemare Kotze
By Annemare Kotze
This e-book is set the communicative goal and the viewers of the Confessions. It illuminates the measure to which the communicative function of the paintings is to transform its readers, i.e. a protreptic function, and the measure to which the objective viewers can be pointed out as Augustine's power Manichaean readers. a quick survey of attainable literary antecedents issues to the lifestyles of alternative works that encompass an identical blend of an autobiographical part (a conversion tale) with a polemical and exegetical part (an argument that goals to persuade the reader of the advantages of a selected standpoint) that characterizes the Confessions. The e-book offers a brand new point of view at the that means and constitution of Augustine's usually misunderstood masterpiece.
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Extra resources for Augustine's Confessions: Communicative Purpose and Audience (Supplements to Vigiliae Christianae, V. 71)
33 The works considered in the latter category occupy themselves more with the fabric of autobiographical prose or the manner of narration than with the generic characteristics of the Confessions as autobiography. In the more 32 Arts’ The Syntax of the Confessions of Saint Augustine (1927); Carrol’s The Clausulae in the Confessions of St Augustine (1940). Mohrmann’s work on the style of the Confessions constitutes some authoritative readings: see for example ‘Observations sur les Confessions de S.
What she hesitates about is whether the text of the Confessions is meant to function in this conversion in the way the Bible functions in the other conversions described there. She comes to the conclusion that such an assumption by Augustine would constitute hubris (26) and that the reader is rather through the text of the Confessions directed to scripture: The reader does not relate to the Confessions as Augustine does to scripture; rather, it is in Alypius, who witnesses Augustine’s conversion and who is himself converted, that we are to see ourselves.
Augustin’ (1959) or ‘Saint Augustin écrivain’ (1961). Poque’s ‘L’invocation de Dieu dans les Confessions’ (1991) is nothing more than a documentation of the instances and various forms of invocation in the Confessions. Testard’s philological approach (1987) provides useful information on the use of superbia and its derivatives in the whole of the Confessions; Colot (1994) examines the meanings of the terms otium and quies throughout the Confessions but focuses more on the terms than on the progression in the work that could be deduced from their use.