Dissimulation artis

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The dissimulatio artis is a strategy of rhetoric . The term comes from Latin and can be translated as "concealing art". With this in mind, rhetoric is understood as ars celare artem (“the art of hiding the art”). This “hiding the art” means nothing other than that the staging of a thing, for example a speech , is hidden or remains latent, so that the impression of spontaneity and authenticity (unstagedness) arises. In this way, credibility can be generated.

In essence, the conception can already be found in Aristotelian rhetoric, which instructs “to make speech appear not as made, but as natural ; because this is faith awakening ”. In the sense of the dissimulatio artis "to hide the eloquence [...] [to] hide (dissimulare eloquentiam), " Quintilian in particular demands. Also Ovid is aware of the power of staged Uninszeniertheit: "Art is useful if it is hidden (si latet, ars prodest) ". And Pseudo-Longinos writes about the use of rhetorical figures par excellence: "a figure seems best when it remains hidden that it is a figure."

The courtly conversation doctrines of the early modern period tie in with this, for example, with the concept of sprezzatura formulated by Castiglione , that is, a graceful nonchalance to be striven for : It is advisable to use “a certain nonchalance that hides art and shows that what one is doing or says, apparently came about effortlessly and almost without thought. "

literature

  • Ursula Geitner: The language of pretense. Studies of rhetorical and anthropological knowledge in the 17th and 18th centuries. Niemeyer, Tübingen 1992 (=  Communicatio. Volume 1), pp. 51-106.
  • Dietmar Till: concealing art (lat. Dissimulatio artis). In: Historical dictionary of rhetoric . Edited by Gert Ueding . Vol. 9: St-Z. Niemeyer, Tübingen 2009, Sp. 1034-1042.

Individual evidence

  1. ^ Heinrich F. Plett: Theatrum Rhetoricum. Drama - Poetry - Politics. In: Renaissance rhetoric. Renaissance rhetoric. Edited by Heinrich F. Plett. De Gruyter, Berlin, New York 1993, pp. 328-368, p. 335.
  2. ↑ Aristotle: Rhetorik ( translated by Karl Ludwig Roth ) 1404b (cf. Geitner: Die Sprache der Verstellung. P. 57).
  3. ↑ Marcus Fabius Quintilianus: Training of the speaker. Twelve Books / Institutionis Oratoriae Libri XII. Ed. And transl. by Helmut Rahn . 2 parts. Scientific Book Society, Darmstadt 1972–1975, II, 17.6; IV, 1.60; Quote: XII, 9.5, part 2, p. 746 f.
  4. ↑ P. Ovidius Naso: Ars amatoria / love art. Latin / German. Transl. And ed. by Michael von Albrecht . Reclam, Stuttgart 1992, II, 313, pp. 100/101.
  5. ^ Pseudo-Longinos: On the sublime. Greek and German. Transl. And ed. by Reinhard Brandt . Wissenschaftliche Buchgesellschaft, Darmstadt 1983, 17.1 f., Pp. 69/71.
  6. ↑ Cf. Karl-Heinz Göttert : Communication ideals. Investigations on European conversation theory. Iudicium, Munich 1988, pp. 20-31; Dietmar Till: Transformations of Rhetoric. Investigations on the change in rhetoric theory in the 17th and 18th centuries. Niemeyer, Tübingen 2004, pp. 151–159.
  7. ↑ Baldesar Castiglione: The book of the courtier . Translated and explained by Fritz Baumgart. With an afterword by Roger Willemsen . Dtv, Munich 1986, p. 53.